MASARYK UNIVERSITY Master´S Thesis

MASARYK UNIVERSITY FACULTY OF EDUCATION

Department of English Language and Literature

SUBTITLES VS. DUBBING: ANALYSIS OF DIFFERENCES IN TRANSLATION

IN THE TV SERIES "2 BROKE GIRLS"

Master´s Thesis

Brno 2017

Supervisor: Author: Mgr. Martin Němec, Ph.D. Michaela Privrelová

Declaration

I hereby declare that I worked on my bachelor thesis on my own and that all the sources

I used are listed in the bibliography. I agree with the thesis being stored in the library of the

Faculty of Education of Masaryk University in Brno and made accessible as a source for study purposes.

Prohlášení

Tímto prohlašuji, že svou bakalářskou práci jsem vypracovala samostatně, s použitím pouze citovaných literárních 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. Souhlasím s tím, aby moje práce byla uložena na Masarykově Univerzitě v Brně v knihovně pedagogické fakulty k dalším studijním účelům.

Brno, 29th November 2017 ...... Michaela Privrelová

Bibliographic entry

Privrelová, Michaela. Subtitles vs. Dubbing: Analysis of Differences in Translation in

TV Series “2 Broke Girls: Master’s Thesis. Brno: Masaryk University, Faculty of Education,

Department of English Language and Literature. 2017. 100 pages. The supervisor of the thesis: Mgr. Martin Němec, Ph.D.

Abstract

Diploma thesis focuses on analysis and comparison of translation strategies used in translation for dubbing and subtitles in TV series 2 Broke Girls. The crucial part is the analysis of corpus, which is divided into several categories according to phenomena such as cultural references or wordplay. Translation strategies used in rendering these phenomena are introduced in theoretical part based on studies by field experts such as Dirk Delabastita or Henrich Gottlieb). Theoretical part further discusses issues of audio-visual translation, deals with theory of humour and introduces situational comedy. The main aim is to assess which translation strategies prevail in both subtitles and dubbing and if a pattern could be deduced, how the translators dealt with specific cultural references or whether seemingly untranslatable wordplays were successfully rendered.

Key words dubbing, subtitles, audiovisual translation, cultural reference, wordplay, pun, sitcom

Bibliografický záznam

Privrelová, Michaela. Subtitles vs. Dubbing: Analysis of Differences in Translation in

TV Series “2 Broke Girls: Diplomová práce. Brno: Masarykova univerzita, Pedagogická fakulta, Katedra anglického jazyka a literatury. 2017. 100 stran. Vedoucí práce: Mgr. Martin

Němec, Ph.D.

Anotace

Předmětem diplomové práce je analýza a porovnání překladatelských strategií, jež byli využity při procese tvorby dabingu a titulků na příkladu seriálu 2 Broke Girls. Práce je postavena na analýze korpusu, který je rozdělen do několika kategorií zabývajícími se jevy jako např. kulturní reference nebo slovní hříčky. Překladatelské strategie, které jsou při překladu těchto jevů používány, jsou shrnuty v teoretické části a vycházejí z poznatků odborníků (např. Dirk Delabastita nebo Henrich Gottlieb). Teoretická část dále také uvádí problematiku audiovizuálního překladu, zabývá se humorem a žánrem situační komedie.

Cílem práce je na základě předešlé analýzy zhodnotit, jaké překladatelské strategie převládají v titulcích a dabingu a jestli je možné nalézt určitý vzorec, jak překladatelé naložili se specifickými kulturními referencemi nebo jestli našli úspěšné řešení pro překlad zdánlivě nepřeložitelných slovních hříček.

Klíčová slova dabing, titulky, audiovizuální překlad, situační komedie, kulturní reference, slovní hříčky

Acknowledgement

I would like to thank Mgr. Martin Němec, Ph.D. for his support, patience and guidance that he provided me as a supervisor. I would also like to thank my family and friends for their endless support.

TABLE OF CONTENTS

1. Introduction ...... 10 2. Humour and sitcoms ...... 12 2.1. Humour ...... 12 2.1.1. Rendering humour ...... 13

2.2. Sitcom ...... 14 2.2.1. 2 Broke Girls ...... 15

3. Wordplay ...... 17 3.1. Wordplay in translation – preserving the wordplay ...... 19 4. Cultural references ...... 22 4.1. Domestication and foreignization ...... 23 4.2. Translation strategies ...... 25 5. Audiovisual translation ...... 28 5.1. Dubbing ...... 29 5.2. Subtitling ...... 31 5.3. Dubbing vs. subtitling ...... 33 5. Practical part – corpus analysis ...... 36 5.1. Wordplay ...... 36 5.1.1. Phonological and graphological structure ...... 36

5.1.2. Lexical structure (Polysemy) ...... 45

5.1.3. Lexical structure (Idioms) ...... 48

5.1.4. Morphological structure ...... 53

5.1.5. Further wordplay occurrences ...... 60

5.2. Cultural references ...... 61 5.3. Expressions without Czech alternative ...... 71 6. Discussion on findings ...... 74 6.1. Wordplay ...... 74 6.1.1. Phonological and graphological structure ...... 74

6.1.2. Lexical structure – polysemy ...... 76

6.1.3. Lexical structure – idioms ...... 78

6.1.4. Morphological structure ...... 80

6.1.5. Further wordplay occurrences ...... 81

6.1.6 Rendering wordplay ...... 82

6.2. Cultural references ...... 85 6.3. Expressions without Czech translation ...... 90 6.4. Accents and use of non-standard English ...... 91 7. Conclusion ...... 93 8. References ...... 95

LIST OF FIGURES

Figure 1: Preserving of the pun based on phonological and graphological structure ...... 74

Figure 2: Preserving of the pun based on polysemy ...... 77

Figure 3: Preserving of idiomatic structures ...... 79

Figure 4: Preserving of puns based on morphological structure ...... 80

Figure 5: Rendering of wordplay with ambiguous meaning ...... 82

Figure 6: Occurrence in subtitles ...... 84

Figure 7: Occurrence in dubbing ...... 85

Figure 8: Occurrence in subtitles ...... 90

Figure 9: Occurrence in dubbing ...... 90

LIST OF TABLES

Table 1: Frequency of occurrence in subtitles ...... 86

Table 2: Frequency of occurrence in dubbing ...... 86

LIST OF ABBREVIATIONS

AVT – audiovisual translation

DOM – domestication

DT – direct translation

DUB - dubbing

EXPL – explanation

FOR – foreignization

GEN - generalisation

OE – official equivalent

OM – omission

RET – retention

S-DI – substitution with different international item

S-DS – substitution with different source culture item

S-TL – substitution with different target language item

SL – source language

SPF – specification

ST – source text

SUB - subtitles

TL – target language

TT – target text

1. Introduction

Watching TV is one of the most favourite past-time activities. With advancement of the

Internet, however, the position of TV as being the main source of entertainment has changed. With spread of online streamers such as Netflix, and with possibility of downloading or online watching, programmes are more accessible than ever. The newest episode is usually available worldwide in less than 24 hours after it aired in the country of origin. This technological advancement caused an increased demand on translation.

In general, the Czech Republic is described as a dubbing-oriented country. However, dubbing is a complex and sometimes lengthy procedure and thus subtitles, being cheaper and faster option, are emerging – nowadays, it is frequent that the Czech audience can enjoy the original language with official subtitles in cinemas. Nevertheless, one specific branch of subtitling is particularly flourishing - field of amateur subtitles or fan subs, which is capable of reacting to the high speed distribution of audiovisual material on the Internet – these subtitles usually appear literally few hours after the episode have aired. Many people take advantage of the assets available online and use the amateur subtitles that are freely accessible. However, these amateur subtitles are sometimes criticised and sometimes praised for their quality.

The interesting thing about amateur subtitles is the possibility of explanatory commentary that the readers can read prior to watching (however, this cannot be perceived as a rule). This is something that was particularly intriguing for me – there is no device like that could provide an extra guidance in dubbing, nevertheless, dubbing seemed to cope. This suggested the idea that things could be done differently in dubbing and subtitles, that different strategies could be used. The explanatory commentary was widely used in translation of sitcom 2 Broke Girls which is one of the reasons why this sitcom was chosen

10 for the analysis. The other one is that sitcoms are a rich source of various wordplays and cultural references, which are interesting from language point of view.

The main aim of the thesis is to examine strategies that are used both in rendering in subtitles and dubbing and assess if any pattern can be found in the use of strategies. The study focuses namely on differences in rendering and preserving of wordplay, rendering culturally-bound references or how accents or use of non-standard English were handled.

Initially, the thesis will provide a theoretical background that is essential for subsequent analysis. At first, concepts of humour and situational comedy are introduced.

The reason why introducing humour as such is important for matters of this study, is that sitcoms are marked with humorous situations and generally humorous element in them is one of the reasons that brings the viewers in. Therefore, it is sound to deal with theory of humour and problems in its rendering.

Next chapter introduces one of the main sources of humour in sitcoms – wordplay or puns. These are linguistically complicated phenomenon based on various aspects – phonological, graphological, morphological, etc. This suggests that wordplays are a complex phenomenon and their rendering might be a demanding task. The thesis thus focuses on whether the puns are preserved in rendering and if so, what strategies have been employed.

In case the loss of pun occurs, preservation of the humorous load is assessed and the translation is examined for use of compensatory strategies.

Besides the peculiarities of the foreign language, various cultural references are presented in the sitcoms that need to be tackled. Two strategies are to be employed in analysis of the cultural references – namely domestication and foreignization. All examples of above mentioned instances are listed and examined in the corpus with further commentary in a separate chapter.

2. Humour and sitcoms

2.1. Humour

Humour is present all around us – humorous utterances of everyday conversations, funny advertisements, TV comedy programmes, sitcoms or loaded shelves of comic genre in bookshops. Despite this fact it is difficult to find one, generally accepted definition of humour, as it seems that there are as many different definitions and classifications as the number of scholars who studied it1 (e.g. in fields of psychology, sociology or linguistics).

One of the most straightforward functions of humour is entertainment – having a good laugh on a joke, or smiling on a well-done pun is proved to be beneficial for out mental health, reducing stress levels (Kalaivani and Rajkumar). Laughing with colleagues and friends, sharing the same sense of humour builds feeling of fellowship, which is essential for all human beings. Humour is also used as a defence against fear and anxiety (making fun of something in order to decrease the scariness), social criticism (e.g. in form of political satire) or can be used as means to tackle taboos (Ziv 11-18).

Laughter usually has a language stimulus and physiology of laughter is the same for all people in the world (Chario, “Humour” 1). However, when people are questioned about why they laughed or what they found funny about the utterance, they might feel puzzled. Despite the fact that humour is a universal aspect of human experience, a witty comment, which is accepted in one culture, may be seen as rude and offensive in other. What people find funny in different cultures is dependent on “linguistic, geographical, diachronic, sociocultural and personal boundaries” (25). It is therefore important to realize that humour is an aspect of culture, and especially, the perception of what is humorous is deeply rooted in the cultures.

In many cases, certain background knowledge is necessary for one to understand jokes.

1 Attardo in his book Linguistic Theories of Humor devotes one whole chapter to survey of literature in humour research.

Oxford Living Dictionaries define humour as “the quality of being amusing or comic, especially as expressed in literature or speech” and “the ability to express humour and amuse other people”. Ross (1) proposes a simple definition of humour – “something that makes a person laugh or smile”. Opinions are divided on whether laughter can be regarded as the decisive criteria for humorous elements. However “canned laughter” is present in sitcoms, it accompanies and highlights humorous parts, and therefore in this case, laughter can be used as one of the decisive features of what is perceived to be humorous.

Several elements of humour can be distinguished: elements of verbal humour (wordplay, culture-specific humour, etc.), visual elements, graphic elements, paralinguistic elements

(e.g. non-verbal qualities of voice) or sound elements (Martínez-Sierra 290-2). For purposes of this study, focusing on audiovisual translation, verbal humour is the most interesting category. Most of the jokes in sitcoms are expressed verbally and being accompanied by remaining elements.

To understand complexity of verbal humour, it is sound to shortly introduce Attardo and

Raskin‘s General Theory of Verbal Humour (GTVH). Verbal humour is based on two overlapping and at the same time opposing scripts which are combined in the unit. Besides script opposition, five more categories which are combined in order to create a joke are distinguished and grouped under umbrella term Knowledge Resources (Language, Narrative

Strategy, Target, Situation and Logical Mechanism) (Attardo 222-26).

2.1.1. Rendering humour

Chiaro (“Humour” 1) states that ‘verbal humour travels badly‘, which is not a very optimistic view to begin with. However, as described above, humour is present in all cultures and languages and therefore there are possibilities for translation, nevertheless there are certain restrictions and obstacles that the translators need to keep in mind.

The reason, why humour is difficult to render is because it creates utterances and dialogues set in certain situation and culture, involving cultural references to people, places or events of a specific culture using words and structures with ambiguous meanings.

Combination of linguistic mechanisms and culture-specific items creates a demanding task for translators (1). Another reason, which is quite specific for audiovisual translation, is the presence of visual layer which accompanies the verbal layer, and poses further restrictions on translation (further dealt with in chapter 5).

Besides the cultural setting, language can pose a number of restrictions on rendering humour as well. An easy example is humour based on phonological aspects (e.g. – it is quite unlikely that two languages would have exactly same sets of homophones or homographs).

This may be a reason why humorous elements get lost in translation (quantitative losses) or suffer from quantitative losses or changes (Martínez-Sierra 292). To sum up, it can be said that “not all humorous elements are rendered on the one to one basis” (Kianbakht 68).

It is impossible to believe that the translators can create a “carbon copy” in which ST and TT perfectly resemble each other. What happens in translation is kind of linguistic and cultural give and take, which changes content of ST into its new form in TT (Chiaro,

“Humour” 10). Nevertheless, translators should try to do their best in rendering as much of the original image and meaning as possible. Nida (156) suggests that the translators should try to find “the closest possible equivalence”. In conclusion, the two main obstacles in rendering humour are language and culture incompatibility of SL and TL that the translators need to overcome.

2.2. Sitcom

A sitcom or situational comedy is one of the most popular genres attracting audiences worldwide. Its name already suggests one of its main features – they are supposed to be

14 comedic and therefore sitcoms usually have high humorous load, rich of various wordplay, references and jokes. Sitcoms are usually set in everyday lives, with mostly sympathetic characters who seem to be real and relatable, making the viewers care about how they deal with the problems that life poses on them. With use of humour and wit, they deal with every day, and sometimes absurd, situations. Sanes suggests that there are several reasons, why people enjoy watching sitcoms. It is not only the fact, that the viewers can identify themselves with characters who face their personal struggles and limitations, succeeding or failing on different levels, but also the characters send a message, that it is OK to fail in pursuit of happiness and they do so by “turning the failure in good feel of a joke” (Sanes).

When the characters further try or start over, it gives the viewer a sense of hope that everything might eventually work out fine.

As the episodes are quite short (usually around twenty minutes), in order to develop the plot, sitcoms usually consist of numerous episodes, easily reaching hundred(s). They can be shot in front of live audience (as is the case of 2 Broke Girls) or canned laughter can be artificially added to support humorous parts.

2.2.1. 2 Broke Girls

2 Broke Girls is an American sitcom aired on CBS in September 2011. The story is based in Williamsburg neighbourhood in Brooklyn, New York and follows lives of two young women in their mid-twenties – Max Black and Caroline Channing, waitresses in

Williamsburg diner. The main characters come from completely different backgrounds;

Caroline being a daughter of a billionaire whose family recently lost all their wealth and

Max who is from economically disadvantaged, broken family, develop an unlikely friendship and using humour, they deal with problems of daily life. Connecting these two quite distinct personalities, the plot tracks their daily quest to pay rent and save some extra

15 money to fulfil their dream – owning a cupcake store. The plot usually takes place in the diner where the girls work, owned by Han, originally from South-Korea. Other characters include Ukrainian chef Oleg, elderly cashier Earl and their customer and friend Sophie. The combination of all characters from different settings provides a solid base for fulfilling the genre of sitcom.

3. Wordplay

In this chapter, wordplay, pun and sometimes joke are terms that are to be used interchangeably. Of course, not all jokes necessarily involve wordplay and there are scholars who distinguish between wordplay and pun e.g. Landers (109) who concludes that “all wordplays are puns”. Nevertheless, all three involve certain play on words and/or meanings.

In simple words, wordplay or a pun occur when an ambiguous meaning of a word is exploited in an utterance or dialogue. However, not all ambiguous words are puns. Most words, if not set into a context, are ambiguous, which implies they can have several meanings. The main condition is that the two (or sometimes more) senses that are present in ambiguous utterance need to be of “opposed” nature and their use cannot be random – they are a conscious phenomenon, it is a deliberate choice (Attardo 133, 142).

For Chiaro, wordplay is a wide term. She sees it as a blanket term which stretches beyond jokes (in which wordplay often occurs) to double entendre in everyday conversations, public speeches, graffiti, or headlines to famous punsters such as Shakespeare and Joyce. In her concept, word play is inseparable of humour, which is in prevailing cases connected to laughter (Language of Jokes 2-5).

In the most general sense, puns are spoken jokes (Attardo 109). Hockett divides jokes into poetic jokes (exploiting language features) and prosaic jokes (which activate background knowledge) (qtd. in Chiaro, “Humour” 4). This division can be applied to wordplay in general. In the first category, wordplays can be based on words of the same or similar form, playing with two (or more) meanings. Clash of the meanings in one unit is a source of humorous effect. However, this is not the only way how language structures can be exploited.

Delabastita (603-604) distinguishes several linguistic mechanisms wordplay depends on, which can be further combined. The first one is based on phonological and graphological

17 structure. As the number of phonemes and graphemes is limited, it occurs that pairs of words, though unrelated semantically and historically, have similar or identical spelling or pronunciation. Puns are therefore based on homonymy (same sound and writing), homophony (different spelling, same pronunciation) or they are homographs (identical spelling, different pronunciation). As homonymy can be confused with polysemy, it is important to distinguish between these two concepts. Homonyms, despite their congruent shape, they have completely unrelated meanings and etymologies (Jackson and Amvela 72).

Wordplay based on lexical structure can be founded on two things – either polysemy or idioms. Polysemy refers to word with different senses, which are still somehow related e.g. through metonymy or metaphor. Polysemy is thus a word with two or more different meanings (Delabastita 602). Idioms can pose a problem for translators as their meaning depends on their intralinguistic context – it cannot be derived from the meanings of its constituents (Gottlieb, “Subtitling” 108).

Morphological puns are words “constructed as compounds or derivates in a way which is etymologically incorrect but semantically effective” (Delabastita 603). Many of these words, constructed in order to achieve humorous effect, may eventually even enter the vocabulary lists. Syntactic structure can also create wordplay when grammatical sentences can be understood in more than one way (603). All puns in the corpus are classified according to these linguistic features and then further examined.

Frequently, wordplays may not only focus on playing with ambiguous or hidden meanings of words. It may be necessary to activate a more complex mechanism, such as relevant background knowledge, for one to be able to grasp the joke or reference, and understand the wordplay (Vandaele 180). This corresponds to Hockett‘s category of prosaic jokes. Gottlieb points out, that on television, wordplay may be text-internal, which means that it can refer to anything that can be retrieved from screen (heard or read) or text-external,

18 which means that it refers to the external knowledge the viewers possess before watching the programme (Gottlieb, “Got the Picutre” 210-211).

In connection with puns, term (un)translatability is often mentioned. Chiaro (“Humour”

2-3) presents a direct connection between puns and the possibility of translation stating, that if it cannot be translated easily, one is certainly dealing with a pun exploiting multiple meanings of the utterance. Doubts on translatability of the utterance occur, when it seems impossible to find relevant equivalent in context of TL, which can be two-faced – linguistic or cultural (Catford 93). In case of wordplay, it is desirable to preserve the double meaning of utterances. However, if the translator is unable to find an equivalent implementing both meanings, at least the denotative meaning should be preserved, no matter how clumsily sounds. In case of AVT, the untranslatability might be cause by the co-existence of audial and visual layer – finding a similarly working pun in TL may not pose a problem, but the referential function to the visual layer needs to be taken into consideration, to avoid the clash of words with what is visible on the screen.

3.1. Wordplay in translation – preserving the wordplay

In the genre of situational comedy, wordplay is never something that happens unintentionally – authors of the texts always counted on exploiting the ambiguity of meaning in order to create the humorous effect. Losing or getting rid of wordplays is an undesired practice, though sometimes unavoidable. Gottlieb (“Got the Picture?” 216) perceives loss of wordplay as a loss of the cause of laughter, which is always regretful.

Delabastita (604) offers wide range of strategies that assess whether rendering of the wordplay was successful or what are the possible solutions for the translation. He proposes eight strategies which can be further combined:

1. PUN → PUN (ST pun is translated into TT pun with possible deviation from the

original in terms of linguistic basis, formal construction, semantic structure or

context. As a result, the pun can be completely different from original one or

contains various changes in terms of meaning or form. If this happens, the pun

will be marked as changed. If the pun is preserved or a very similar pun is

created, it will be marked as same/similar. In this case the main purpose is aimed

at preserving the pun regardless of the strategy used. )

2. PUN → NON-PUN (A pun is replaced by non-punning phrase which may either

keep both senses of the pun or sacrifice one to preserve the other. In this case,

punning effect is lost in translation. Nevertheless, the humours load in not

necessarily lost in translation – if the non-punning phrase preserves the humour,

it is marked as humorous. If the humorous load gets lost with the translation, it is

marked as omission.)

3. PUN → RELATED RHETORICAL DEVICE (Pun is replaced by some wordplay-

related rhetorical device such as repetition, alliteration or rhyme. In a way, it tries

to imitate the pun meaning it tries to preserve humorous effect, however it is not

always possible)

4. PUN → ZERO (The portion of text containing pun is omitted)

5. PUN ST = PUN TT (translator reproduces the pun even without actually

‘translating‘ it)

6. NON-PUN → PUN (a pun is introduced in translation even though there is no

punning in source text, possibly to make up for ST puns lost somewhere else)

7. ZERO → PUN (pun which is created in process of translation, added to a text,

possibly functioning as a compensatory device for previously lost pun)

8. EDITORIAL TECHNIQUES (explanatory footnotes, alternative solutions, etc.)

However, some of the categories are not applicable to audiovisual translation. Category

PUN → ZERO is unlike to occur – in dubbing, one cannot simply omit what the characters are saying, because the viewer can (usually) see the lips movement. In subtitles, the viewers would lack the translation, especially if it as part of a dialogue, and they can also hear and see the original. There is also no chance to add a pun (ZERO → PUN) because all text usually needs to have visible textual support.

Editorial techniques are highly unlikely in dubbing because there is usually no space for the translator to provide them, however they can appear in subtitles. The subtitler can opt for parenthesis bellow the translation or in the upper part of screen or, in case the subtitles are downloaded from the Internet, the subtitler can provide the viewer with an explanatory list or notes on translation (this was the case with the amateur subtitles for 2 Broke Girls – the subtitler often wrote an explanatory comment on culture features that appear in the episode or in case the translation deviated from ST, he often commented on the change).

4. Cultural references

It seems that defining culture is not as easy as it may seem – even though it is a word many people come across with quite frequently, it carries several meanings. Term culture includes vast range of phenomena – e.g. patterns of behaviour, communication, attitudes, ideas, values, concepts or opinions shared by groups of people on different levels (local or global). It can also refer to human‘s cognitive capacity, artistic manifestations or intellectual and social development (Santamaría 159). Definition of what culture is also ranges depending on field of study that deals with it (e.g. different aspects are studied in psychology and anthropology).

Despite the fact that culture is a universal term, we can simply say it can differ from place to place and society to society. As the world is becoming more and more multicultural and it is not possible to have first-hand experience with all cultures, various TV programmes mediate foreign cultures right into people‘s homes – or at least to a certain extent. All these programmes in foreign languages need to be translated for broader audience – besides actual translation of words, utterances or dialogues (if simply said), the translator also acts as an mediator between two cultures which may have different opinions and standards on how humour is created and perceived or how different situations are dealt with. With cultural diversity in mind, translators make decisions on how culture-bound references are to be rendered from SL to TL. These culture-bound references or culture-specific items pertain to cultural aspects, names of places and people, material culture (food, clothes, etc), organisations, customs, habits, leisure activities or differences in ecology (Pendersen 2;

Newmark, Textbook 95).

4.1. Domestication and foreignization

According to how culture is rendered in translation, two concepts2 are distinguished for use of this study, namely domestication and foreignization. The notion of foreignization and domestication was first introduced by Lawrence Venuti in his book The Translator´s

Invisibility in 1995. Despite the fact that Venuti applies his theory into English-language nations (Venuti 16), they can be applied to translation in any language or culture. Venuti, advocating foreignizing translation, considers it “highly desirable… strategic cultural intervention” by making the receiving culture aware of the different notions in foreign text

(qtd. in Munday 226). Venuti also introduces concept of (in)visibility of translator which goes hand in hand with the two above mentioned concepts.

Domestication is a concept used to produce fluent and easy translation, creating “illusion of transparency” (Munday 224) – the translated text seems natural, as if it was not translated or of a foreign origin. Source culture items are replaced by target culture references, which create feeling of smoothness as there are no disruptive elements in translation. This attitude is connected to Venuti´s concept of translator´s invisibility – due to the factors mentioned above, the translator seems to be invisible as the text is not “unnaturally” marked. Using domestication strategies, the translator “leaves the reader in peace as much as possible and moves the writer toward him (the reader)” (Schleiermacher 49) or in this case towards the viewer. Otherness is domesticated while the translation pretends to “bring the audience to an experience of the foreign” (Nornes 449).

Conversely, foreignization preserves cultural aspects and values of source text and transforms them into target text. In Venuti´s or Schleiermacher´s words, this concept “sends the reader abroad” (Venuti 15), bringing them closer to the writer and gives them the

2 Venuti in his books uses word strategies, not concepts. The reason why the decision was made to call them concepts is to avoid misunderstandings as within these concepts/categories further translation strategies can be distinguished.

23 experience of foreign. In this case, instances of foreign culture are visible in target text; the translator may use unusual grammar, syntax or vocabulary to signal the foreign instances that originally appear in source text. In these strategies, the translators do not abandon fluency completely, but they it is reinvented in innovative ways (19) thus translator´s work quite visible in the text.

Domestication and foreignization deal with “the question of how much a translation assimilates a foreign text to the translating language and culture, and how much it rather signals the differences of that text” (Munday 149). Key feature that serves as a standard to recognize if the translation has been domesticated or foreignized is the amount of foreignness in text.

Both concepts can be demonstrated on this cultural reference:

Source text: Kendall Jenner is applying to college?

Foreignization: Kendal Jenner se hlásí na střední?

Domestication: Britney Spears se hlásí na vysokou? (S03E12)

The important thing for translators to realize that most of the culture specific items also come with further connotation therefore it may not be enough to know e.g. who the person is, but also be aware of the qualities they are associated with. Therefore it is important to choose cautiously, especially in terms of domestication – TL item should have the same connotations as the original item in SL.

Last concept which could be interesting regarding this topic is alienation. Valdeón introduces the concept as quite extreme case of domestication (even when the translator could have opted for something closer to source culture). Cultural features of SL are almost completely substituted with TL equivalents even if it risks conflict between verbal and

24 visual layers and intratextual incoherence of final product (231-2). Alienation may be perceived as translator´s decision to be completely ignorant of foreign world.

Valdeón considers audiovisual culture of 21st century as far more influential in terms of culture and ideology and more capable of reaching international audiences than literature

(229). Therefore it is a pity to rely mostly on domesticating practices in translations of subtitles and dubbing. Zojer (5) perceives cultural references in subtitles as one of possible indicators of how much globalisation have progressed and how influential are different media in terms of sharing information.

4.2. Translation strategies

Previous chapter introduced two concepts that are distinguished in rendering culture- bound items. The distinction if the item has been foreignized or domesticated can be quite easily done. However, specific strategies that the translators use can be recognized, if items are closely analysed. To create more accurate and convenient list of strategies, the list is based on Pendersen´s translation strategies complemented by Valdeón’s strategies, which he uses in his article on alienation techniques. Combination of these strategies should create more complex list, which will be used in subsequent corpus analysis.

Pendersen arranges his strategies on a Venutian scale, ranging from the most domesticating (SL-oriented strategies) to the most foreignizing strategies (TL-oriented strategies) (3). Even though Valdeón does not specifically categorize his list of strategies, it is clear that it follows this scale as well.

Among SL-oriented strategies belong: retention, which occurs when the culture-specific item enters the SL in unchanged or slightly adapted version, the item is preserved in source language. Specification also keeps the item unchanged (or the changes are minor, such as spelling); however it adds extra information to make the item more comprehensible. Another

25 method is direct translation – there is no effort to transfer connotations, it is basically word- for-word translation. This strategy straddles between SL and TL-oriented strategies

(Pendersen 4-5; Horbačauskienė, Kasperavičienė and Petronienė 224-5).

TL-oriented strategies employ generalisation where the specific word is substituted by something more general based on e.g. hyponymy (Pendersen 6). Very frequent strategy is substitution where the item can be substituted by different international item (even though the reference remains foreign, it is still adjusted for the targeted audience in terms of their culture), different source culture item (item which has similar connotation and may be better known in target culture) or by target language item (items specific to target-language culture) (Valdeón 216-224).

Two more specific translation strategies, which cannot be truly classified occur. The first one is omission where cultural item is replaced by nothing. Leppihalme deduces two reasons why translators opt for omission – either it is chosen responsibly when after evaluating all possibilities none of them is sufficient for some reason, or irresponsibly, out of laziness, when the translator does not feel bothered to finding something they do not know (qtd. in

Pendersen 9).

The second case is official equivalent where translators have ready-made solutions as the terms have already been coined in target language. Pendersen considers these rather bureaucratic matter rather than linguistic. When the official equivalent is already established, it is highly unlikely that the translator would need to create a new one (3).

The table below connects the concepts of domestication and foreignization with translation strategies. The abbreviations are further used in the analysis of corpus.

FOREIGNIZATION (FOR) DOMESTICATION (DOM)

Retention (RET) Generalisation (GEN)

Specification (SPF) Substitution with different international item (S-DI)

Direct translation (DT) Substitution with different source culture item (S-DS)

Substitution with target language item (S-TL)

Not classified: official equivalent (OE) and omission (OM)

5. Audiovisual translation

Translation has played an important role in human communication throughout history – written and spoken translations provided access to seminal texts and thoughts for scholars or for religious purposes (Munday 10). Despite the fact that translation in any form has always been present (with first translations trace back to 3000 BC and continuous comments and studies by scholars throughout centuries such as Cicero, Dryden, Goethe or Nietzsche) the study of translation only became an academic subject in 20th century. Whereas in previous centuries translation was predominantly domain of educated people, philosophers, scholars or scientists, with exponential growth of technology and increase in world communication, the need of making translations accessible to public was deemed necessary (Newmark,

Approaches 3-4).

Even though literary translation is an established academic subject, the up and coming mode of translation – audiovisual translation – is still neglected to a certain amount. One of the reasons AVT was not regarded as a proper translation was, that it was dismissed as only a “problem” of synchronization, which is a unique feature of this translation (Zabalbeascoa,

“Nonverbal” 329). It is seen as more of “a process of explanation, interpretation and reformulation of ideas than transformation of words; that the role of language is secondary”

(Newmark, Textbook 12).

One of the possible explanations (of the AVT not being a proper translation) is that finding a general definition or theory, which would cover all the situations and types of translation, is difficult and therefore it is easier to say certain types of translation are not translations at all, which is the case of AVT (Zabalbeascoa, “Nonverbal” 329). However, this attitude is changing with more studies dealing with theory and practice of AVT (such as

Díaz-Cintas and Ramael).

Several types of AVT can be distinguished with dubbing and subtitling being the most widespread forms, both posing certain technical and linguistic restrictions which are further examined in following chapters. Besides these, there are external factors that influence translations - it is vital to state that translations are not random; they are always made according to certain (and often subjective) criteria (Zabalbeascoa, “Factors” 90).

Among factors influencing translation of television programmes belong political restrictions, advertising and sponsorship, popularity ratings or necessity of shared knowledge (95). Hierarchy of priorities in rendering is also to be established – in the case of translating situational comedy, the priority of rendering humour and preserving comic effect will presumably be higher than informativeness or political correctness. Despite the fact that the informative aspect is secondary in this genre, Gottlieb (“Subtitling” 116) notes that carelessness in rendering should be avoided no matter how insignificant the information may seem.

The important issue to mention is co-existence of visual and sound channel which influence the choices the translator can make. It happens that the translator may find a fitting equivalent in rendering, using different words – however, visual and aural is closely interwoven and the translation cannot be altered so that is does not contradict the image

(Munday 269).

5.1. Dubbing

In dubbing, the original soundtrack from the movie or TV series is completely replaced by the target-language version. Actual translation of what is to be dubbed is only one step of the lengthy procedure of dubbing. Martinéz (3-7) provides a comprehensible overview of all phases of dubbing. The process is simplified because for purposes of this study it is not

29 necessary to go into depth – the overview illustrates the changes the translation undergoes before the final product is created.

The process stars with purchasing the programme by the client (TV station, distributor, etc.) who sends a copy into the dubbing studio. This copy (master copy) usually comes with a script and further instructions e.g. whether the songs should be dubbed as well. Dubbing studio then sends the copy of materials to the translator. Source of materials for translation may differ – the most convenient situation is when the translator works with the movie and the script as well. However, this is not always the case – sometimes the translators work solely with the movie, or the script they receive may be incomplete (e.g. it is only a preproduction copy) (3-7).

Once that the translation is complete it is usually proofread and then handed over to the synchroniser who adjusts the translation with lip movements. At this point, further changes are made on the translation.3 Synchronisation requirement may sometimes be a cause of unnatural utterances in dubbing (Zabalbeascoa, “Nonverbal” 330). Bad synchronisation can ruin otherwise well done dubbing (as is the same case for subtitles). The version handed in to the production is not necessarily final as the actor can make changes to their lines as well

(as they are the ones conveying the dubbing). In the end, all phases, to a certain extent, manipulate with the text submitted by the translator.

In the final phase, the translated dialogues are recorded by dubbing actors under supervision of dubbing director. The dialogue track is then mixed with other sounds that the original soundtrack contained (sound effects and music tracks) and finally coupled with the visual part – and thus is created dubbed version of the programme (Audissino 102).

As a conclusion, the biggest obstacle in translation for dubbing is that the text has to be compatible with the lip movements.

3 For more information on synchronisation process see Talpová (15-21).

5.2. Subtitling

Subtitling can be described as a written translation of what we can hear or see on the screen - spoken dialogues or utterances, any written information (signs, letters, headlines, etc.) or soundtrack (music with lyrics). Subtitles retain the original version (both audio and video) and subtitles are usually added at the bottom of the screen as an ‘extra layer of information‘(Díaz-Cintas, “Subtitling” 274).

Subtitles appear on screen for definite amount of time in limited space. They should therefore be arranged in such manner, that the reader is able to read the subtitles and enjoy the film as well (Gottlieb, “Subtitling” 113-4). Generally accepted form of subtitles consist of maximum of two lines of text, each with around 38 Roman characters including blank spaces and typographical signs (for Chinese, Japanese, Arabic or Cyrillic languages these requirements vary) (Munday 271, Díaz-Cintas, “Subtitling” 274). As for the amount of time that the subtitles stay on screen, there is a rule of one second minimum and six seconds maximum – this is to prevent the reader from re-reading short subtitles and, on the other hand, the six seconds rule should provide them with enough time to read (ibid. 276).

Synchronism between the image and the subtitles is important because when the subtitles are too fast, it disrupts the integrity of the movie – when one can read something that is not yet happening on screen. Therefore subtitles have to correspond with the dialogue and character in the image and/or the image itself. This is important when long dialogues or utterances occur – even if it was tempting to put important information at the beginning of the sentence in TL (e.g. because of grammar requirements of TL), the subtitles have to wait until it is actually said/showed on screen, especially in deal-breaking moments.

Besides the on-screen time, segmentation is an important factor in subtitles. Cuts and camera moves need to be taken into consideration, as subtitles overlapping between camera cuts may be disruptive. In situation, when a long utterance occurs but there are several

31 camera cuts in the scene, it is better to break the sentence into shorter ones (and another reason, besides the aesthetic one, is the dramatic progression of scene). Luckily, the cutting often follows he rhythm of speech so subtitles tend to break the subtitles when the actors stop to breathe (Gottlieb, “Subtitling” 111).

Gottlieb (ibid. 104) perceives subtitling as diagonal translation – it not only changes the language but also switches the mode from spoken to written (therefore it crosses over from

SL speech to TL writing). Switch of modes may pose more restrictions, besides technical ones mention above. This brings one of the cons of subtitles – the inability to involve prosodic features of speech such as intonation, pitch of voice or speed. Nevertheless, there are devices which create at least faint echo of actual spoken words such as exclamation marks or italics (ibid. 102).

Spoken discourse is typical of pauses, unfinished sentences, people talking at the same time or interruptions which might be difficult to render. In these cases, Ivarsson and Caroll

(87) advise to translate freely – creating complete sentences out of unfinished utterances or muddled speech might feel suspicious for the reader. Altogether, transition of these features is more often cleaned up than preserved in subtitles. Omission or ellipsis is also acceptable with tautologies or repetition or when words such as well or you know appear – their main purpose is to keep the conversation ticking and therefore they can be made redundant leaving more space for actual meaning.

In order to create quality subtitles, it is important to minimize unnecessary misunderstandings and further incorrect translations that might appear in case that the subtitler is not provided with a dialogue list, a standard list or a script (Díaz-Cintas,

“Quality” 199-201). Despite the fact that the subtitler can be a real expert in their field, if they have to create the subtitles just by hearing, errors can easily occur (Gottlieb,

“Subtitling” 108).

With arise of new technologies subtitling is not predominance of officially licenced companies anymore. The Internet makes TV shows and various programmes accessible and the demand on translation is rising. The phenomenon of amateur subtitles or fansubs becomes quite widespread. Even though it has some legal and ethical issues connected to amateur subtitling (e.g. illegal download), it is accessible and far faster than official translation. However, the quality can be questionable – Bogucki (49-57) in his study on amateur subtitling points out that the quality tends to be quite poor containing mistakes and misinterpretations due to low quality of the source material or translator‘s inability.

Nevertheless, if the ST comes from quality source, the overall quality of TT can be compared to professional subtitling as the technologies and strategies used in translation are similar (56-57).

5.3. Dubbing vs. subtitling

Subtitling and dubbing do not necessarily have to be in “either-or” opposition. This sub- chapter sums up the constraints that are put on both of them in comparison.

Subtitling is more demanding as people have to involve three cognitive efforts – watching, listening and reading; whereas with dubbing it is only the two former mentioned.

Dubbed dialogue is perceived simultaneously by all viewers however in case of subtitles some people read at faster rate and some keep falling behind without possibility of re- reading (Gottlieb, “Subtitling” 102). We can listen to words at faster than we can read and in situation when the movie is quite verbally dense, subtitling often offers only a summary (due to spatial and temporal constrains), but dubbing does not necessarily leave out extensively

(Zabalbeascoa, “Factors” 93).

Viewers may find subtitles distracting as they pop on and off the screen; however the perk of hearing actor´s original voice is valued. With dubbing, viewers can focus all their

33 visual attention to the action on screen (Audissino 99), however, dubbing may be perceived to be unrealistic and disturbing, in case the voices do not match with their characters.

Change of the voice can influence viewer‘s perception of the character (e.g. if a voice of completely different profile or quality is chosen).

One of the aspects why dubbing could be chosen over subtitling (in this case by distributor) could be the power over the textual source – in dubbing there is a greater possibility for censorship than in subtitling (especially due to impossibility of comparison between TT and ST). Gottlieb (“Subtitling” 102) notes the same, marking dubbing more open to manipulation in comparison to subtitling. This is one of the reasons why dubbing could be more common in countries with past of political oppression such as Italy,

Germany, Austria or countries of Central Europe (Talpová 2013). As choosing between dubbing and subtitles can be a force of habit, this could be one of the reasons why countries that inclined to dubbing in past stayed with it in higher percentage till nowadays.

On the other hand, countries with a strong tradition in subtitling, such as

Scandinavian countries, are presumed to have a better knowledge of English comparing to ones with dubbing preference. Naturally, for English learners, watching TV series or movies in original language with or without subtitles is beneficial for their language development.

This educational effect vanishes completely when one is watching dubbed programme. The only thing that dubbing can offer is a cultural knowledge in case it was not domesticated.

In conclusion, both dubbing and subtitling has their pros and cons. Rather than fighting over which one of them is better it is better to realize their strengths and use the two modes accordingly. As for the battle of subtitles vs. dubbing, Cintas offers an accurate dissolution:

The hackneyed debate on the merits or otherwise of a particular AVT mode as

opposed to other seems to have been finally settled. Scholarly approaches have

now moved well beyond value-laden comparisons, discussing whether one mode

– particularly subtitling or dubbing – is better than the other to studies where the emphasis is placed on understanding these modes as different translational practices deserving in-depth critical attention. It has become accepted that different genres and audiences call for different translational approaches, that they all have their pros and cons, and that they all have their place in audiovisual industry.

(Díaz Cintas, “Subtitling” 281)

5. Practical part – corpus analysis

The corpus is divided into several parts. The formal layout is as following: the first column provides the classification of the episode – number of season and number of the episode (format SxyExy). Second column represents original version, third rendering in amateur subtitles and last column is for official dubbing. Analysed instances are marked bold in all three sections. Each example is then provided with explanation (EXPL) and further commentary on both subtitles (SUB) and dubbing (DUB). In several cases, the commentary is merged into one (e.g. when the rendering was similar).

The first part focuses on wordplay – all instances of wordplay or puns were categorized according to Delebastita’s linguistic categories (discussed in chapter 3). Tag used in the analysis can be found in chapter 3.1. The second part deals with cultural references. In this case, the instances are tagged as being either foreignized or domesticated with further distinction (discussed in 4.2.)

The official translation was extracted from dubbed version produced by TV Nova.

The second season was translated by Radim Urbánek and third season by Zdeňek Hoffman.

The source for the amateur subtitles is website titulky.com – the subtitler was nick-named as iq.tiqe.

5.1. Wordplay

5.1.1. Phonological and graphological structure

S02E03 C: I mean weren´t you shot C: Nepicli tě jako dítě? C: Nestříleli po tobě, když jsi as a baby? I feel like you Něco takového jsi byla prcek? Myslím, že jsi to told me that. tvrdila. říkala. M: No, I told you I drank M: Ne, říkala jsem, že M: Ne, říkala jsem, jako dítě shots as a baby. My mother jsem jednou byla piclá. pila prcky. Máma nerada hated to drink alone. Máma nerada pila sama. pila sama.

EXPL: Homonymous word shot. In one case it means a gunshot, in the other shot of alcohol. SUB: The wordplay is based on same principles as in the original – picnout is a slang term for getting shot and být piclá as a slang expression for being drunk. The meaning remains the same. (same/similar) DUB: Dubbing preserved the meaning of the whole dialogue as well; however it creates wordplay with different words. In this case the translator took advantage of homonymy based on word prcek – in one case meaning a baby, in the other one a shot. (same/similar)

(S: PUN – PUN) (D: PUN – PUN) S02E04 Just my luck to get soul Ironie – vařit černošský To je pech dělat food, when I don´t even jídlo, když se jmenuju černošskou kuchyni have a soul. Černá. a ještě s blondýnou.

EXPL: The pun is based on homonymy of word soul. Soul food refers to food that was typical of Afro-American slaves in the USA. Both subtitles and dubbing managed to render the pun although both images had to be completely changed. Despite the change of image, both versions are successful in preserving the pun. SUB: Subtitles play with sound similarity of černošský and Max´s surname Černá which works fairly well. (change) DUB: Dubbing relies on contrasting černoškou kuchyni with blondýnkou. (humorous)

(S: PUN – PUN) (D: PUN – NON-PUN) S02E05 Oh, you sound Russian. Zníš jak Ukrajinec. To Vy budete asi Rus, nemyslím That's funny because you're je vtipný, protože zatím přízvuk, ale jak dlouho not rushin’ to make my jsi nám toho moc čekám na polívku! soup. neukrojil.

EXPL: The pun is based on homophony between words Russian and rushin‘. SUB: Subtitles use the same strategy as original – they try to create wordplay on the similarity of sound between word Ukrajinec and (ne)ukrojil. However, these two words are not as compatible as the ones used in original (they share core consonants UKR), so the wordplay is not as obvious and may be lost. (humorous) DUB: Dubbing relies on preserving the stereotype which is proposed by the original, with a slight change of meaning. (humorous)

(S: PUN – NON-PUN) (D: PUN – NON-PUN) S02E06 This guy has a brand-new Tenhle má zbrusu nový Tamten má nového Appla. Apple. I´ve been eating Jablko. A já jím ta samá Já jsem si do něj ještě the same apple for a week. jablka už týden. neklepla.

EXPL: The wordplay is based on homonymy of words apple (fruit) and Apple (brand). SUB: The translation of Apple company seems unnecessary and the pun would not be lost if it was not translated. However, both meaning and form are preserved. (same/similar) DUB: Dubbing uses rhyme to compensate for loss of wordplay.

(S: PUN – PUN) (D: RRD)

S02E06 I thought you´d be home Čekala jsem, že si z toho Tak promiň, já myslela, že jsi feeling bad for yourself, budeš dělat hlavu, ne si doma a že se lituješ a ty si v not feeling your bad self. dělat dobře. tom spíš libuješ.

EXPL: The wordplay is based on two similarly sounding phrases – feeling bad for yourself and feeling your bad self (original phrase is to get down with your bad self which means to misbehave or to do something one should not do). The emphasis is on word feeling as Max walks into Caroline masturbating. (same/similar) SUB: Subtitles rendered the original meaning successfully. Similarly to the original, the wordplay is based on verb dělat and both phrases preserved the same meaning. DUB: Wordplay is based on similarity of words lituješ and libuješ. The pun was preserved and meaning retained. (same/similar)

(S: PUN – PUN) (D: PUN – PUN) S02E09 C: We´ve all gotten someone C: Všichni jsme Všechny jsme v noci an enema in the middle of the uprostřed noci dostali někomu běžely pro klystýr, night, it’s a rite of passage. klystýr. To je přechod to je zasvěcení. A: For someone to get their k dospělosti. A: Zasvěcení tlustého passage, right? A: Spíš přechod střeva? k průchodnosti. EXPL: The pun is based on phrase homonymy between rite of passage (a certain ceremony which marks an important stage in someone‘s life – in this case, getting a duty like this is a honour for the assistant) and literal expression to get their passage in connection to an enema. SUB: Subtitles used absolutely accurate equivalent, preserving meanings in both cases. (same/similar) DUB: Dubbing used word zasvěcení to render rite of passage which is very nice; however, the wordplay sounds rather clumsy. (humorous)

(S: PUN – PUN) (D: PUN – NON-PUN) S02E12 M: What? You said it was a M: Co je? Říkala jsi M: Co je? Soukromá private party, and this is a soukromá párty. A tuhle párty pro dortíkárnu party I keep near my párty si nechávám u sebe a soukromý hltík pro privates. v soukromí. dortíkářku.

EXPL: The pun is based on homonymy of adjective private and noun privates which is short for private parts. Max takes out a flask that she hides under her clothes. SUB+DUB: Both subtitles and dubbing based the pun on adjective soukromý which is a suitable option. (same/similar)

(S: PUN – PUN) (D: PUN – PUN)

S02E14 E: I can´t bake but I can sit E: Péct neumím, ale E: Neumím sice péct, ale and lift the spirits. As můžu vám pomoct umím člověka vytáhnout long as there are spirits. z bryndy. Pokud ovšem z bryndy, jestli je dost It´s open bar, right, Han? nějaká brynda bude. Pití brandy. Bude zadarmo, že je zdarma, Hane? jo, Hane?

EXPL: Pun is based on homonymous word spirits – in one case it means mood and in the other it refers to an alcoholic beverage. Max and Caroline need to bake thousand cupcakes in a very short time and their co-workers offered them help (Oleg, Han and Earl). SUB: The girls needed help, therefore phrase pomoct z bryndy is convenient. Earl uses word brynda to refer to alcohol – even though the word does not carry this meaning, the proposed meaning is retrievable form the context. (change) DUB: Dubbing re-created the wordplay with homophonic relationship between bryndy and brandy which is an elegant solution. (change) Possible translation: E: Neumím sice píct, ale můžu aspoň zlepšovat náladu. Hned jak si zlepším náladu já. Open bar, Hane? Or Hned jak se dám do nálady.

(S:PUN– PUN) (D:PUN – PUN) S02E14 A: Come on, Caroline, A: Do toho, Caroline, dej A: Tak Caroline, nasuneme. love me. mi více. C: Řekl jsi teď, Caroline, C: Did you just say, C: Řekl jsi, Dej mi více? zasuneme? Caroline, love me?! A: Ne, rukavice. Jaký A: Ne, řekl jsem: teď, A: No, I said Caroline, ubožák říká, Dej mi více? Caroline, nasuneme. Kterej glove me. What kind of chudák by řekl, zasuneme? loser would say, love me? EXPL: The wordplay is based on homophony between love me and glove me. Andy is holding gloves and asks Caroline to help him and she misunderstands. At this point, Caroline and Andy are broken up. SUB: Subtitles created new pun using the reference to gloves Andy is holding. This solution is quite elegant and works nice. (same/similar) DUB: The pun relies on sexual reference of the wordplay. However, similarly sounding verbs nasuneme and zasuneme are a good choice to match with the visual layer and it fits into the situation. (change)

(S:PUN – PUN) (D:PUN – PUN) S02E17 P: Oh, you are one of P: Aha. Ty jsi jedna z těch, P: Jste jedna z žen, co those – a woman without co nic nepřekvapí. neznají starosti. wonder. M: Omyl. Ve skutečnosti M: Naopak! Právě mám M: Not true! In fact, I am mě překvapuje, jak starosti, jak zaplatím wondering how you dokážete zaplatit nájem. nájem! manage to pay rent.

EXPL: The pun is based on homonyms a wonder and verb to wonder. There could also be an allusion to wonder woman, the superhero (Max is being quite rude in this scene). SUB: Subtitles managed to find adequate words to render the wordplay and preserve the meaning as well. (same/similar) DUB: Dubbing slightly changed the meaning - the sentence how you manage to pay

rent suggests that Max thinks that being a marionettist is not a real job and this meaning is changed for purposes of the pun. (same/similar)

(S: PUN – PUN) (D: PUN – PUN) S02E21 Look at you. You´re like the No podívej se. Jsi jak řecká Hele, bohyně Greek goddess of booty bohyně příležitostného sexu. nadrženejch volání. calls. Aphro-whitey. Afro-bílá. Afro-díra.

EXPL: The pun refers to Greek goddess Aphrodite. Max uses it to refer to Caroline (who is blond) and therefore creates a new word Aphro-whitey. SUB+DUB: Subtitles preserve the blond reference and directly translate the pun into Afro-bílá. As the reference is used in sexual context, dubbing chooses to make the reference sexual and therefore it is rendered as Afro-díra. In this case, the similarity to Aphrodite is even more noticeable than in original wordplay. (same/similar)

(S: PUN – PUN) (D: PUN – PUN) S02E22 C: My acting´s method, C: Já mam svou metodu C: Já dávám přednost whereas hers is more meth a Max stačí jen met(h). Stanislavského metodě, head. zatímco Max pervitinu. EXPL: The pun is based on sound similarity between words method and meth head (homophones). The girls audition for part in a movie. SUB: This is a very nice attempt of wordplay in Czech. Caroline has her metodu and Max is just fine only with met(h). Even though it is necessary to provide the viewers with some guiding (preserving consonant h in brackets), the pun is cleverly done. DUB: It was not possible to preserve the sound similarity but dubbing managed to render the meaning very nicely. The contrast between Caroline’s preference of Stanislavského metoda (acting method) and Max’s preference of pervitin create a nice pun. (change)

(S: EDT) (D: PUN – PUN) S02E23 I´m saying someone had a tip To, že mu něco Říkám, že tu někomu slip, and that is not a small vyčuhuje, a ne vyklouzl, a že je to pořádnej tip. And as a waitress and a zrovna málo. A jako buřt. Jako servírka a padlá loose woman, I know a small povolná žena vím, o žena vím, jak vypadá tip when I see one. čem mluvím. podmírák.

EXPL: Tip slip is a slang expression meaning men’s private parts are peeping out from underwear or a swimsuit. The pun is based on connecting this expression with a tip (money the customers give to waitresses for their service). SUB: The subtitles render only the sexual meaning, reference to waitress is lost. (humorous) DUB: Dubbing works with the pun very well – it uses restaurant vocabulary to refer to render the wordplay and it preserves both meanings of the pun. (change)

(S: PUN – NON-PUN) (D: PUN – PUN) S03E03 She’s purr-fect. Je dokonalá! Je puurfektní.

EXPL: Pun incorporates onomatopoeic sound of a cat – purr. SUB+DUB: Subtitles omitted the pun while dubbing directly copied the original. (S:omission)

Alternative translation could be Je mňaukózní. The reference to the cat is obvious. The suffix –kózní is colloquial, another example of its use can be word mňamkózní (meaning delicious).

(S: PUN – NON-PUN) (D: PUN = PUN) S03E05 H: That´s at least a two H: Aspoň dvě se H: Je tam nejmíň dvojsval. pack. najdou. C: Hane, i Usama je živější C: Han, the real Tupac is C: Hane, i kynutý těsto než tvůj dvojsval. more alive than your two- má blíž k buchtám než pack. vy. EXPL: The wordplay is based on homophones two-pack and Tupac. Six-pack usually refers to men’s abdominal muscles. Han started to exercise and he can definitely see some progress (which is non-existent). Han previously mentions he has pekáč buchet which is a Czech slang equivalent for six-pack. SUB: Subtitles play with the literal meaning of the word buchty a kynutý těsto in contrast to figurative meaning of pekáč buchet. This contrast makes it obvious that Han is not in shape. (change) DUB: Dubbing directly translates the original without the homophony and it changes the comparison for Usama which the translator assumed to be more comprehensible for Czech audience. (humorous)

(S: PUN – PUN) (D: PUN – NON-PUN) S03E07 H: June, this is my mother, H: June, to je má matka, H: June, to je má matka, Su- Su-Min Lee. Su-Min Lee. Min Leeová. M: Which means “so M: Což znamená M: Což znamená, jsem mean“ to me. „nesnáší mě“. k Max surová.

EXPL: The pun is based on homophonic relationship between Mrs Lee’s name (Su- Min) and its meaning, made up by Max (so mean). In this episode Han’s mother comes to visit and she disapproves of Max. SUB+DUB: Neither subtitles nor dubbing preserved the homophonic relationship but retained the meaning. Both relied on that Mrs Lee’s name is foreign and that its translation could mean anything. Dubbing compensates for the loss with a little rhyme (Leeová-surová). (S: omission)

(S: PUN – NON-PUN) (D: RRD) S03E07 Look, look, Mrs Lee! The Podívejte, paní Lee, Hele, hele, paní Leeová, Chrysler Building! It has Chrysler Building. Má budova Chryslerů, mají ve the word ‘Christ’ in it! v sobě slovo „Christ.“ znaku křídla! EXPL: The pun is based on homophony between part of the word Chrysler and Christ. Han’s mother is a religious woman. SUB: The subtitles did not change anything and directly copied the original. DUB: The dubbing cleverly uses brand’s logo to create the pun.

(S: PUN=PUN) (D: EDT)

S03E12 H: Okay, okay, Max, if you H: Max, když máš čas H: Dobrá, dobrá, Max, když have time to lean, you have se opírat, můžeš jít hned máš čas se flákat, máš čas time to clean. vytírat. taky makat. M: And if I have time to M: A mít čas dám vám M: A když mám čas tě give you a punch, we have ránu pěstí, všichni praštit, máme taky baštit. time to have lunch. budeme mít štěstí.

EXPL: Han creates a short rhyme to remind Max that she is at work and she should actually work. Of course, Max comes back with a similar rhyme. DUB+SUB: Both subtitles and dubbing did a great job in rendering the rhyme, meaning and preserving the humour. (same/similar)

(S:PUN – PUN) (D: PUN – PUN) S03E12 N: We’re not in class. Do N: Nejsme ve třídě. Vidíš N: Nejsme ve třídě. Vidíte tu you see batter or bowls? tu mouku nebo vejce? vařečku nebo vejce? M: Well, we’re hoping not M: Já doufám, že žádný M: No, doufám, že vejce ani to see any balls. vejce neuvidíme. neuvidíme. D: I see outline of one of D: Já vidím obrys D. Já vidím obrys vařečky. ‘em. jednoho. EXPL: The wordplay is based on homophones bowls and balls. As it refers to Nicolas, Max‘s chef teacher, any kitchen vocabulary is suitable to be used in rendering. SUB: Subtitles used the ambiguous meaning of vejce – in the first case it refers to an actual egg, in the second case it refers to men‘s genitalia. Wordplay retained. (same/similar) DUB: Dubbing works with the same reference as subtitles. (same/similar)

(S: PUN – PUN) (D: PUN – PUN) S03E20 M: We don’t need to sit M: A nemusíme tu M: A nemusíme se tu tvářit here and gravel... sedět a pohlavkovat... nasertivně.. C: ...grovel... C: ... poklonkovat... C: ...asertivně... M: Whatever. M: To je fuk. M: To je fuk. EXPL: The pun is based on Max confusing words gravel and grovel (homophones). Caroline and Max are at a fancy dinner which ends up in an argument and Max is trying to create a relaxed atmosphere. SUB+ DUB: Both subtitles and dubbing used homophonic relationships of words that fit into the context. Similar form and meaning are rendered. (same/similar)

(S:PUN – PUN) (D:PUN – PUN) S03E21 C: She’s the baker and we C: Je pekařka, a děláme C: Je cukrářka, a ano, do tons of wedding cakes. mraky svatebních dortů. děláme tuny svatebních Gay weddings, straight Svatby teplých, neteplých… dortů. Svatby gayů, weddings... M: Studených! negayů.. M: Bed wettings! M: Pygmejů!

EXPL: Wordplay is based on homophony between gay/straight weddings and bed wettings. Preserving this homophony is not possible in Czech; however both subtitles and dubbing found their way. SUB: The pun in subtitles in based on logical clash between Caroline’s utterance and Max’s follow up. It also relies on formal resemblance (adjectives) and sound similarity. This is a very elegant solution. (same/similar) DUB: Dubbing renders the pun with the same approach using different words. (same/similar)

(S: PUN – PUN) (D: PUN – PUN) S03E21 I’m on the phone with C: Mám na telefonu C: Zase volá Claire. Claire. Claire. M: (sarkasticky) M: You mean un-Claire? M: Myslíš slečnu A přemýšlela...? Nerozhodnou?

EXPL: Indecisive and spoilt Claire keeps changing her mind starting with sentence I was thinking... The original plays with homophony of adjective unclear and un- Claire (prefix added to Claire‘s name). SUB: Subtitles use the contextual knowledge about Claire – being an indecisive person. (humorous) DUB: Dubbing uses a sentence that Claire has been using a lot in previous scenes. Max uses irony to imitate her and the humour is preserved. (humorous)

(S: PUN – NON-PUN) (D: PUN – NON-PUN) S03E21 They said babe less in the Ani v seriálu Klondike Ani v Lásce nebeský movie Babe. neřeknout tolikrát zlato. neřeknou tolikrát lásko.

EXPL: Two lovebirds keep addressing each other babe all the time. It is not possible to preserve the homonymic wordplay in Czech. SUB+DUB: In both cases the movie is changed but the pun is preserved. (change)

(S: PUN – PUN) (D: PUN – PUN) S03E22 C: Max, your high? C: Max, jsi pozitivní? C: Max, tvé plus? M: I certainly am. And my M: Zcela určitě. M: Rozhodně mám. low will be when it wears off. A negativní je, že jsem Mínusem bude, až mě to pozitivní. přejde.

EXPL: The pun is based on playing with your and you’re with very almost identical pronunciation (homophones). Max and her co-workers discuss highs and lows of the week and she intentionally chooses to understand you’re high. SUB: Max always presents herself as being quite sassy and not very nice. The translator suggests that she is in a good mood and feeling “positive” and she makes fun of it by saying it is negative that she is positive. (omission) DUB: This rendering is quite complicated but by stating až mě to přejde, she suggests some drug abuse (which can be deduced from the context as she talks about it a lot). (omission)

(S: PUN – NON-PUN) (D: PUN – NON-PUN)

S03E23 O: What’s up with Robert O: Co tu chce ten Robert O: Kdo je ten Robert de de Zero over there? I used de Nula? Taky jsem Nula tamhle? Takovou to have a leather jacket like míval takovou koženou bundu jsem nosil dávno. that. Then I realized when bundu. A pak mi došlo, Pak mi došlo, že když chci you have the right to bear že když máš právo nosit udělat ramena, musím arms, you bare them, zbraně, tak je nos kotě. obnažit ruce. baby. EXPL: Pun is based on homophony and polysemy between bear arms and bare arms. The scene is followed by Oleg showing his biceps and kissing it which creates a visual support for the pun. SUB: The pun works with the first meaning to bear arms. It uses the visual layer to support the rendering, making it obvious that Oleg’s best arms are his own. (same/similar) DUB: Dubbing uses the visual layer as well as obnažit ruce is actually accompanied by Oleg showing his biceps. It omits the reference to guns but preserves the idea of his amrs being the best weapons. (humorous)

(S: PUN – PUN) (D: PUN – NON-PUN) S03E23 C: ... and at the Preakness, C: ... a na Preaknessu C: ... a na Preakness byla she was second in seven byla druhá na 1400 metrů druhá na míli a tenhle závod furlongs and this race is a tenhle dostih je jen na je 1200 metrů. only six furlongs. 1200 metrů. S: To je moc složitý. S: You are talking for S: Jo a tobě pusa jede na long. 5000 metrů. EXPL: Pun is based on homonymy between words furlongs (which is a measurement for distance) and for long. The conversation takes place on a horse race. Caroline gets excited as she used to attend horse races when she was rich and passionately explains what is happening. SUB: Subtitles converted the measurement units from furlongs to meters both for better understanding and possibility of wordplay. The wordplay is preserved using metaphor suggesting that Caroline is just talking too excessively. (same/similar) DUB: Dubbing relies on viewer‘s knowledge of differences between miles and meters. The pun is lost as Sophie simply ignores whatever Caroline previously explained. (omission)

(S: PUN – PUN) (D: PUN – NON-PUN)

5.1.2. Lexical structure (Polysemy)

S02E01 Martin: You follow me? Martin: Stíháš mě? Martin: Uděláš to? Max: You want me to Max: Mám Vás stíhat? Max: Mám ti to udělat? follow you? Can I even go Smí se tam vůbec chodit? Pustíte mě tam? back there? Policista: Ne, to Policista: Nepustíme, slečno. Policeman: No, you can‘t, nemůžete. miss. EXPL: The pun is based on two meanings of verb follow – to understand and to come after. Martin is giving her advice and he makes sure that Max understood what he was saying. SUB: Subtitles used verb stíhat in rendering the wordplay, creating a reference to prosecution. (change) DUB: Dubbing uses verb udělat and plays on its ambiguous meaning – to do something and to perform a sexual act. This seems suitable because it preserves both meanings (and Max had some sexual comments on Martin before). Therefore, this rendering is successful. (change)

(S: PUN – PUN) (D: PUN – PUN) S02E07 A: So I was thinking we A: Ráno můžeme zajet ke A: Říkal jsem si, že bychom could drive our truck to strejdovi na pilu a přivézt zítra naším autem zajeli na my Uncle´s lumberyard in dřevo na stáj. strýcovu pilu pro dřevo na the morning and get the M: Ale nějakou kládu už tu stáj. wood for the barn. tu vidím. M: Dobře, ale zdá se, že M: Okay, but there seems dřeva je tu dost. to be plenty of wood right here. EXPL: The pun is based on two meanings of noun wood – it is either an actual piece of wood and or a slang reference to erection. This conversation is also supported by the visual layer. SUB: Subtitles rendered the second utterance as kláda (slang expression) which is a hyponym of word dřevo. (same-similar) DUB: Dubbing uses dřevo in both cases; the visual layer helps to understand the ambiguous meaning. (same/similar)

(S: PUN – PUN) (D:PUN – PUN) S02E10 C: Max´s Homemade C: Maxiny domácí C: Vypadá to, že budeme mít Cupcakes is at capacity. dortíky budou mít plno. plno! M: Hey, we might even be M: Čím víc, tím líp, ze M: Můžeme mít overbooked, because in zkušenosti vím, že když překnihováno, mám my experience, even when kluk řekne, že nebude, zkušenost, že když muž guys say they are not tak bude. řekne, že nepřijde, tak going to come, they do. přijde. EXPL: The pun is based on ambiguous meaning of verb come. SUB+DUB: Neither of them managed to preserve both senses of the verb and both translation sound a bit odd. (omission) If the aim was to preserve at least one of the meanings, more natural translation could

be: Budeme mít asi úplně narváno. Když kluci řeknou, že nepřijdou, tak se beztak většinou zjeví.

(S: PUN – NON-PUN) (D: PUN – NON-PUN) S02E10 Well, as far as the “suck Pokud jde o tvůj „polib No, Max, co se tvé akce it“ plan goes, it looks like mi“ plán, vypadá to, že tě „srab“ týče, myslím, že je somebody sucked vzdal někdo za slovo. někdo v pořádném srabu. something. EXPL: Girls have a grand opening of their new cupcake store and Max invites all her ex-boyfriends to show them how successful she is and to be able to tell them to suck it. The pun plays on two meanings of suck – phrase suck it and sexually biased meaning of the verb. However, Max eventually hooks up with one of her exes. SUB: The pun works the same as the original one and the meaning is similar. (same/similar) DUB: Word srab is a bit unnatural, however for purposes of the pun it works well. (change)

(S: PUN – PUN) (D: PUN – PUN) S02E11 C: I wanna go but I can´t! C: Ráda bych odešla, ale C: Chci odejít, ale A: And I will never be able nemůžu. nemůžu! to go again. A: A já zas nebudu moct A: A já se už nevykadím. nikdy přijít. EXPL: Caroline is stuck in the door in a giant cupcake costume, while Andy is sitting on a toilet. The pun is based on ambiguous meanings of verb go – in first sentence it means to leave, in second sentence to go on a toilet. SUB: Subtitles play with opposites odejít/přijít. However, the second sentence changes meaning and turns out to be humourless. (omission) DUB: Dubbing did not preserve the play on words, but rendered the second sentence directly, which preserved the humour. (humorous)

(S: PUN – NON-PUN) (S: PUN – NON-PUN) S02E18 C: Max, look, the mailman C: Max, pocákal mě C: Max, venku stál came. pošťák. pošťák. M. Where am I looking, your M: Kde to máš? Na prsou M: Máš to na prsou nebo chest, your hair? nebo ve vlasech? ve vlasech? EXPL: The pun plays on two meanings of verb come (the first is to arrive, the second is to reach climax). SUB: Subtitles rendered the sexual reference of the utterance though it is not clear why would the mailman do such a thing. However, the follow up reacts on the sexual context, therefore preserving this meaning is understandable. (humorous) DUB: The same applies to dubbing – it was never mentioned that the mailman was some kind of pervert. (humorous) In both cases, the humour was preserved by certain incompatibility of the dialogue.

(S: PUN – NON-PUN) (D: PUN – NON-PUN) S02E23 Well, Han, I would play, Á bych do toho šel, ale Víš, Hane, rád bych hrál, ale but you know, I´ve got this mám problém nemám na to plíce, nebo hip thing, meaning I´m s rukama. Jdou mi moc žaludek.

too hip. dozadu.

EXPL: Wordplay based on ambiguous meaning of word hip. In the first sentence it may seem that Earl has a physical condition, something with his hip that prevents him from doing something. However, the sense of the second word is figurative – being too hip meaning that he is too cool or too fancy to do something. SUB: Subtitles rendered the utterance successfully – despite the change of image, the pun works on the same level. Problém s rukama suggest a physical condition while jdou mi do zadu means he will not work. (change) DUB: Dubbing manages to preserve the meaning but changes the image – reference to plíce suggests a physical restriction but phrase nemám na to žaludek which renders approximately the same meaning as being hip. (change)

(S: PUN – PUN) (D: PUN – PUN) S03E01 C: It´s a soft opening. C: Je to malé otevření C: Je to otevření na zkoušku. H: What´s the difference prodeje. H: A jaký je rozdíl mezi na between a soft and a hard H: Jaký je rozdíl mezi zkoušku a naostro? one? malým a velkým? O: Mám mu to ukázat? O: Should I show him? O: Mám mu to ukázat? EXPL: The pun is based on vagueness of a soft and a hard one. Oleg’s follow up exploits the sexual reference. SUB: The pun is preserved in the same manner because these two adjectives can be used to create the same allusion as the original one. (same/similar) DUB: The sexual reference is preserved in naostro but is not as obvious. However, later on Oleg shows Han what naostro means, therefore this rendering is apt. (same/similar)

(S: PUN – PUN) (D:PUN – PUN) S03E02 M: Just go to the place M: Zajdi za roh a kup si M: Běž za roh a kup si je, around the corner and buy něco novýho, lacinýho. jsou levný. some cheap ones. C: Max, tam prodávají C: Max, tam nakupují ženy C: Max, they sell clothes oblečení na kila. v letech. by the pound. C: Proto se to jmenuje M: Proto se to tam jmenuje M: That´s why it´s called kilová móda a proto je to móda za babku a proto je to a fashion pound and hustý. tak bezva. that´s why it´s awesome. EXPL: The pun is based on double use of word pound. SUB: Subtitles preserved the original form of the wordplay. (same/similar) DUB: Dubbing slightly adjusts the meaning to preserve the wordplay. It exploits meaning of babka which may refer to grandma or in phrase za babku it refers to good deal (cheap). (change)

(S: PUN – PUN) (D: PUN – PUN) S03E13 C: Luis, are you blushing? C: Luisi, ty se červenáš? C: Luisi, ty se červenáš? L: No! I’m wearing blush. L: Ne! Mám na tvářích L: Neee! To ten make-up. růž.

EXPL: The wordplay is based on verb blushing and its derivate blush, a cosmetic product. Both subtitles and dubbing rendered the utterance in a different way but the humorous effect can be preserved as Caroline is referring to Luis. SUB: The subtitles incorrectly rendered blush as růž for no obvious reason. However, the absurdity of this statement may preserve the humour. (humorous) DUB: Dubbing uses generalisation, translating blush as make-up which is suitable as there is no word in Czech that would carry both meanings as in original. (humorous)

(S: PUN – NON-PUN) (D: PUN – NON-PUN)

5.1.3. Lexical structure (Idioms)

S01E03 M: Nice language! You M: Pěkný slovník! S tou M: Hezkej slovník! Tou pusou kiss your obviously pusou líbáš svýho kluka, líbáš svýho očividně closeted boyfriend with kterýho máš zřejmě jen přihřátýho kluka? that mouth? pro parádu? ...... C: Přinesu Vám na to sodu, ale I’ll bring you some soda C: Přinesu ti na to sodu, váš přítel půjde spíš water, but seriously, your ale upřímně, než to s pravdou ven, než ta skvrna boyfriend will come out uschne, tvůj přítel bude pryč. before the stain does. pryč. EXPL: The pun is based on two idioms: closeted boyfriend and ambiguous use of phrasal verb to come out (in one case it is used as an idiom, in the other as a phrasal verb). SUB: The subtitles work with the visual layer as it is quite visible that the boyfriend is gay. Therefore rendering kluk, kterýho máš pro parádu is adequate. The follow up is rendered well but it does not preserve the play on words. (change; humorous) DUB: Dubbing directly points out that her boyfriend is gay – přihřátý kluk. There is also good rendering of coming out as s pravdou ven. It was not possible to preserve the play on words, but all meanings and humour were preserved. (same/similar; humorous)

(S: PUN – PUN) (D: PUN – PUN) (S : PUN – NON-PUN) (D : PUN – PUN) S02E01 C: Max, you know the C: Víš, jak se říká C: Max, znáš výraz narodit expression “born with „dostat všechno na se se stříbrnou lžičkou a silver spoon in your stříbrném podnosu“? v puse? mouth“? S tímhle servírovali mně. Tahle je moje. This is mine.

EXPL: Idiom to be born with a silver spoon in one’s mouth is supported by visual layer (Caroline shows Max her silver spoon). They are on an auction where Caroline’s former properties are being sold off. SUB: Subtitles substituted the idiom with its Czech version which has a very similar meaning. (same/similar) DUB: Dubbing directly translated the English idiom. However, this one is quite straightforward and thus is it comprehensible. (same/similar)

(S:PUN – PUN) (D: PUN – PUN)

S02E04 I am little in the weeds Nestíhám, je to v čoudu. Jsem zrovna trochu right now. otrávenej. EXPL: Idiom to be in the weeds suggests that someone is overwhelmed with problems or some troubles. In this case it also means that someone is high. The girls are waiting for their orders and Oleg comes out of the kitchen high. SUB: Je to v čoudu is a slang phrase for being screwed. Čoud also refers to smoke; therefore the reference to weed is preserved. (same/similar) DUB: Dubbing completely omits the idiom and its ambiguous reference. Even though it is visible that Oleg is high, this translation is not appropriate. (omission)

Possible alternative: Asi tu máme problem. As the visual layer shows stoned Oleg, the problem can refer to two things – him being high and the fact that he did not cook anything.

(S: PUN – PUN) (D: PUN – NON-PUN) S02E07 M: He is really into you. M: Fakt je do tebe M: Je do tebe blázen. C: He might be into me, but udělanej. C: Možná je do mě blázen, he doesn´t seem to want to C: Možná je do mě ale nevypadá to, že by chtěl get into me. udělanej, ale do mě se do mě jít. zatím neudělal. EXPL: Caroline and Max are discussing Caroline’s relationship with Andy. The pun is based on idiom to be into someone (like someone) and play on literal meaning of the constituents of the idiom, referring to a sexual act. SUB: Subtitles rendered the idiom with colloquial idiom být do někoho udělanej. This is a very clever choice as it is possible to create wordplay with the same meaning, using the constituents of the idiom. (same/similar) DUB: Dubbing translates the idiom and preserved the pun, using the same structure in all three cases – je do mě. (same/similar)

(S: PUN – PUN) (D: PUN – PUN) S02E12 O: I already put up the O: Už jsem pověsil jmelí. O: Ja už jsem pověsil jmelí. mistletoe. H: Kam? H: Kam? H: Where? O: Řekněme, že visí O: Řekněme, že visí pevně. O: Let’s just say it’s very hodně nízko. well hung. EXPL: The pun is based on play with an idiom well hung (vulgar slang for having a big penis). It plays with the literal meaning (obviously the mistletoe is hand at the right place) and figurative meaning (mentioned above). (humorous) SUB+DUB: Neither subtitles nor dubbing preserved the idiom. Both of them rendered it as an allusion to men’s genitalia - hodně nízko and visí pevně. (humorous)

(S: PUN – NON-PUN) (D: PUN- NON-PUN)

S02E14 H: I broke my mother´s H: Při porodu jsem matce H: Není to k smíchu pelvis coming out. zlomil pánev. Max, zlomil jsem matce M: At least you finally M: Aspoň, že jste se konečně pánev, když mně rodila. came out. vymáčknul. M: A srdce když tě viděla. EXPL: Ambiguous meaning of come out in literal meaning and as revealing one´s orientation. It is a short version of an idiom to come out of the closet. SUB+DUB: In both cases, Max is making fun of Han – in subtitles because of his language and in dubbing because of his looks. Subtitles did not manage to preserve the play on words, only meaning was retained. Dubbing plays with verb zlomit – despite the fact that the meaning is not the same, the rendering is humorous. (S: humorous; D: change)

(S: PUN – NON-PUN) (D: PUN – PUN) S02E17 C: Fine, 1000 USD and no C: Dobře, 1000. Ale C: Dobře, 1000 dolarů a nic strings. žádné zákulisní nevisíme. tahání za nitky.

EXPL: This pun is based on ambiguous meaning of idiom no strings attached. The ambiguity is created by the fact that this idiom was used in conversation with a marionette guy. SUB: Subtitles did not find a similarly working idiom but the pun is preserved, it is appropriate in the conversation and makes the reference to marionettes. (same/similar) DUB: In dubbing, the pun is based on the play with literal and figurative meaning of phrase nic nevisíme. This slang expressions means we owe you nothing and it is also used as a reference to the marionettes (as they hang on strings). (same/similar)

(S: PUN – PUN) (D: PUN – PUN) S03E04 H: Hey, man, I´m in the H: Člověče, já tu lítám jak H: Hele chlape, nevím co weeds here. hadr na holi. dřív. E: Well, if you got weed, E: Jestli tu máte nějaký E: Jestli by byla tráva, cancel the coffee. hadry tak zapomeňte na oželím to kafé. kafé. EXPL: The pun is based on idiom to be in the weeds which means to be overwhelmed with troubles or just to be too busy and not being able to cope with it. Weed refers to marihuana. SUB: Czech idiom lítat jak hadr na holi successfully renders the meaning, however the reference to drugs is lost. The following utterance mít nějaký hadry then does not make sense and the pun is lost. (omission) DUB: Nevím co dřív easily renders the meaning of the idiom. The drug reference is also nicely preserved – Earl was obviously waiting for a coffee which never came and he suggests that some weed would make it up to him. (omission)

(S: PUN – NON-PUN) (D : PUN – NON-PUN)

S03E04 C: Oleg´s in the closet. C: Oleg nechce, aby to C: Oleg je v přístěnku. (physically) někdo o něm věděl. L: Ah, zlato, to bych poznal L: Oh honey, I could have L: Ale zlato, mně to i sám. told you that. bylo přece hned jasné. C: Podívej, Luisi, Oleg není C: Look, Luis, Oleg is C: Ne, vážně, Luisi, on gay. straight. je na ženy. EXPL: The pun is based on literal and figurative meaning of idiom to be in the closet. The figurative meaning is to be hiding one’s sexual orientation and literal obviously to be physically in the closet. SUB: As it is obvious from the context that Oleg is hiding, the non-idiomatic translation is well chosen and it leaves possibility for ambiguous interpretation as well. (same/similar) DUB: Dubbing does not translate the pun as there is no reference to ambiguous meaning of being in the closet. However, the humour is preserved in the context, as it seems that Carl is looking for Oleg and hitting on him. (omission)

(S: PUN – PUN) (D: PUN – NON PUN) S03E07 Well, if a whore’s bath Jestli je špatná hygiena Hele, jestli se šlapky někde is appropriate anywhere, někde normální, tak je to myjou, je to tady. it´s here. tady. EXPL: A whore’s bath is a slang idiom describing washing only necessary areas such as face, armpits and genitalia. Caroline and Max come into a brothel and Caroline tries to clean the sofa they are supposed to sit on with a napkin; Max washes herself. SUB: General meaning of whore’s bath is connected to bad hygiene so the translation is appropriate (plus it is supported by the video). (humorous) DUB: Dubbing uses a literal meaning to render this utterance which is not the best solution (because there is no logical explanation why they should have the bath there). (omission)

(S: PUN – NON-PUN) (PUN – NON-PUN) S03E07 That´s the first time Han´s ever To je poprvý, co si To je poprvý, co si vyskočil been able to hold something Han na někoho a dosáhl toho, co chtěl. over someone´s head. došlápnul.

EXPL: Use of this idiom relies on contextual information. Han is not very tall and girls keep mocking him for it. SUB: Subtitles render the idiom with a similar Czech idiom retaining the reference to Han’s height (it is humorous as it is difficult to imagine such a small person would “step on” someone). (change) DUB: Dubbing also uses a slang idiom vyskočit si na někoho which has a similar meaning to original idiom and also suggests Han jumping high. The pun is then re- created by follow up dosáhnout co chtěl which, in combination with jumping, completes the allusion. (change)

(S: PUN – PUN) (D: PUN – PUN)

S03E13 Now, if you‘d excuse me, Teď mně omluvte. Jdu A teď mě omluvte, jdu domů I’m going to go home and domů a budu válet provětrat vlastní zboží. roll me a fatty. Her name is sudy. S baculkou Jmenuje se Denisa. Denise. Denise. EXPL: The pun is based on idiom to roll a fatty which means to roll a joint. However, it turns out that Earl does not necessarily mean (only) joint but an intercourse with a fat girl. SUB: Subtitles do not render the idiom but they provide some space for an ambiguous understanding of the utterance. Válet sudy could be understood as wasting one’s time but in this case it suggests the physical activity with a girl named Denise. However, the drug reference is lost. (humorous) DUB: Dubbing quite nicely preserves both meanings – zboží refers to the drug substance and then he turns it around, mentioning girl’s name. The pun works on the same base as in original. (change)

(S:PUN – NON-PUN) /(D: PUN – PUN) S03E13 M: Okay, look, should M: Mám se připravit na ty M: Tak hele, mám zase čekat I brace myself for vaše extempore? Čímž ty vaše úchylnosti? Jestli jo, weirdness between you myslím dát si do trumpety. mám si cvaknout? two? And by that I mean C: Ne, jsem cool. Cool C: Ne, jsem v pohodě, should I hit this? jako kůl. Úplnej frikulín. chladná jako kámen. Ani C: No I’m cool. Cool a ledovej palác nebyl as cucumber. LL Cool chladnější. J. Never been cooler. EXPL: The pun is based on various ways to say that someone is OK with something – idiom cool as a cucumber, an example of rapper LL Cool J and assuring statement never been cooler. Caroline is about to meet her ex-lover Andy. SUB: Subtitles omit reference to LL Cool J but they invent better way to express how cool with things Caroline is. The cultural reference, in this case, is not significant. Use of blended word frikulín (free, cool and in) was very creative and it also suggests how stressed she is about meeting Andy. This translation is very well done. (similar/same) DUB: Dubbing uses comparison chladná jako kámen which is accurate rendering (suggesting that Caroline does not have any feelings for Andy anymore). It also uses a reference to fairy tale Frozen, referring to Elsa’s ledový palác. (change)

(S: PUN – PUN) (D:PUN – PUN) S03E17 The only thing this hair and Ten účes má s mou mámou Tenhle účes, stejně jako my mother have in common společný jen to, že je taky moje máma je is they’re both high. nafoukanej. neprůstřelný. EXPL: Max has her hair done and she looks like Olivia Newton John at the end of Grease. Two meanings of high are exploited – being stoned and being high and of volume (connected to hair). SUB: This rendering is a bit clumsy but still works. Foukaná is one of the procedures the hairdressers use therefore the reference to hair is clear. Adjective nafoukanej to refer to Max’s mother is probably not the most appropriate but it is comprehensible. (humorous) DUB: As the hairstyle is quite thick it is possible to refer to it as neprůstřelný. Max’s mother could be described as neprůstřelná as well since she seems to live quite

interesting life according to Max’s statements. The rendering is different but still quite functional. (humorous)

(S: PUN – NON-PUN) (D: PUN – NON-PUN) S03E19 H: This costume is my H: Z toho kostýmu se H: Tenhle kostým je moje ace in the hole! ženský pominou. tajná zbraň! M: Well, it does make M: Jo, pominou se smíchy. M: Víš, tvoje zbraň tajná you look like an ace i zůstane. hole. EXPL: Idiom is exploited with homophonic sound of ace in the hole and an ace in the hole (asshole). SUB: The idiom is not preserved but well rendered as Han dressed up to impress women. It is also possible to create a pun with similar meaning therefore the rendering is successful. (change) DUB: Dubbing does not preserve the idiom and changes the meaning but preserves the pun. (change)

(S: PUN – PUN) (D: PUN – PUN) S03E20 And my parents say I’m A mně budou doma říkat, že A to o mně říkají, že jsem na loose as a goose. přefiknu, co uvidím. chlapy.

EXPL: Idiom used in slang describing a woman who is sexually awaken. SUB: Subtitles use a slang phrase in order to preserve the pun. (same/similar) DUB: The pun is ruined by incorrect translation. Hetero or homosexuality was not part of this conversation. Better translation could be že běhám za chlapy. (omission)

(S: PUN – PUN) (D: PUN – NON-PUN)

5.1.4. Morphological structure

S01E03 Oh, you happy? You Jsi šťastná? Handrkuješ Jsi spokojená? Obrala jsi haggled a charity. You’re se s charitou. Měníš charitu! Děláš turning Goodwill into bad Goodwillu na bad will. z dobročinnosti will. zločinnost. EXPL: Goodwill is a charity shop in the USA. The wordplay is based on creating an opposite expression, contrasting with constituents of the Goodwill. SUB: The wordplay is directly copied from the original, the translator relies on the fact that the viewers know the words or they are at least able to understand opposition of good-bad. DUB: Dubbing rendered the utterance very successfully, creating the same wordplay in Czech. (same/similar)

(S: PUN=PUN) (D:PUN – PUN)

S01E04 Don’t look at me, Na mě se nekoukej, ty koupil To já ne, koupil je Kaštan. Chestnut bought it. He Kaštan. Líbí se mu, když mu Má rád, když mu denně čtu likes it when I read čtu jeho horse-oscope ty koniny, co tam jsou. him his daily horse- (koňský horkoshop). oscope. EXPL: Pun is based on invention of the word horse-oscope which is (almost) an homophone to word horoscope. SUB: Subtitles decided to rely on editorial techniques and simply copied the phrase with additional information in brackets. DUB: Dubbing substitutes the pun with different pun – as Chestnut is a horse, word koniny is very nicely chosen – even though it does not convey original meaning the overall conversation was not changed. (change)

(S: PUN=PUN, EDT) (D: PUN – PUN) S02E04 J: And remember to J: A nezapomeňte je J: A nezapomeňte – DSZ. B.Y.O.B. vytáhnout. M: Vědět, že sem můžu M: Oh, if I had known I was M: Tohle vědět vzala přinést flašku, nevyzunkla allowed to bring my bottle bych si hezčí bych ji na záchodě. in, I wouldn´t have chugged podprsenku. C: Max, tak to nemyslela. Ta it in the bathroom. C: Max, tak to soutěž je přísně rodinná. C: Max, that´s not what she nemyslela. Kabelovka Janet, DSZ? meant. The food network is je i pro děti. Janis, co J: Držte se značky. very PG. Janis, B.Y.O.B.? máme vytáhnout? J: Bring your own brand. J: Postavy a příběh. EXPL: Acronym B.Y.O.B. stands for Bring your own booze. The pun is based on different interpretation of the acronym. SUB: Subtitles change the meaning and use an ambiguous statement to preserve the wordplay. (change) DUB: Dubbing invented its own acronym DSZ. It is not clear, what this acronym stands for, however it seems that originally proposed meaning is preserved. Držte se značky is also suitable (they are in a TV studio). (change)

(S: PUN – PUN) (D. PUN – PUN) S02E06 C: I blame Steve Jobs. C: Za to může Steve Jobs. C: Za to může Steve Jobs. M: These people are M: Tyhle lidi spíš vypadají M: Tyhle lidi jsou spíš Steve more like Steve- I-have- jako Steve Nemakačenko. Nemám Job. no-Jobs.

EXPL: Reference to Steve Jobs, exploiting his last name. SUB: The subtitles changed the last name to Nemakačenko, which is a made-up slang for someone who is lazy and does not want to work. This rendering is apt. (same/similar) DUB: Dubbing directly translates the original (very nicely though). (same/similar)

(S: PUN – PUN) (D: PUN – PUN) S02E06 C: Do you think the C: Pošle nám šéfkuchař C: Myslíš, že nám šéfkuchař chef will send an minibuchtičky? pošle na stůl amouse-bouche? amuse-bouche to our M: Ne, ale ráno jsem si M: Ne, ale dnes ráno jsem si table? buchtičku holila a vyholila smajlíka do svý buše

M: No, but this výsledek byl opravdu a je to moc pěkný. morning I shaved a mini. smiley face to my bouche and it´s very amusing. EXPL: Wordplay is based on an allusion - figurative use of previously mentioned expression amuse-bouche with a completely different meaning retrievable from context. SUB: Subtitles changed amuse-bouche to minibuchtičky to create a solid base for play on words. Rendering preserves the wordplay and does not change the image. (same/similar) DUB: Dubbing treats the wordplay similarly to original version – the first element is preserved and the second is just adjusted to Czech (direct translation, but the form used is legit). (same/similar)

(S:PUN – PUN) (D: PUN – PUN) S02E06 C: So, if this is “Candy C: Jestli tohle je C: Takže, tohle jsou sladkosti Andy´s Sweets and “Cukrářství a laskominy Candy Andy? A vy jste Treats”, are you Candy Cukrouše Andyho”, tak ty Candy Andy? Andy? jsi cukrouš Andy? A: Prosím, sotva se přece A: Oh please. We hardly A: No tak, sotva se známe, známe. Pro vás, Candrew know each other. Call me říkejte mi cukrář Andrew. Candrew Andrew. Andrew. EXPL: The pun relies on play with diminutives. Despite the fact the word Candrew is non-existent in English, the wordplay is comprehensible. SUB: Subtitles exploited the play with diminutives in Czech on a perfect level - it was possible to create the pun within Czech vocabulary (cukrouš-cukrář). (same/similar) DUB: Dubbing did not translate the joke – it was just copied from English original. One of the reasons why the wordplay could have been simply copied is the “harshness” of the utterance which suggest the change from diminutive to augmentative. (S: PUN – PUN) (D: PUN=PUN) S02E07 Well, I beggeth thy Tak to potom entšulign. Tak tedy budiž mi pardónum. forgiveness. Haveth Zitsen si tady ke stolen. Račtež se složiti do boxu. a seat-eth in the boot-eth. EXPL: Two Amish boys come to the diner and Max thinks they are just wannabe hipsters. When she realizes they are real Amish boys, she imitates Shakespearean English. SUB: Subtitles use German to preserve this wordplay. This is quite understandable – as the Czech Republic is surrounded by German-speaking countries, understanding the form and the meaning could be quite easy (plus she actually says it in normal English as well). (change) DUB: Dubbing uses unusual vocabulary (budiž and račtež) to render unusual speech. (change)

(S: PUN – PUN) (D: PUN – PUN) S02E07 A: Where is this A: Kde je ten William? A: Kde je ten William? Složil William? I´d like to Rád bych mu složil bych mu poklonu za jeho burg. compliment him on poklonu v jeho hradu.

his burg.

EXPL: The wordplay is based on assumption that the Williamsburg actually consists of two words – William’s and burg. SUB: (die) Burg in German means a castle and that is how the subtitles rendered this utterance. (same/similar) DUB: Dubbing retains the original.

(S: PUN – PUN) (D: PUN=PUN) S02E09 Oh, my God, you are To snad ne, děláš ze O, bože, děláš ze mně Hana! Haning me! mně Hana! EXPL: Using Han’s name a verb. It is not possible to use the same strategy in Czech (Hanuješ mně! Does not sound natural). SUB+DUB: Both subtitles and dubbing use construction děláš ze mně which meets the desired effect. In both cases the pun is preserved in the same way as in original. (same/similar)

(S: PUN – PUN) (D: PUN – PUN) S02E10 Can someone here mellow Může si tu dát někdo Smilujte se někdo a strčte jí out and put some pancakes pohov a strčit si do pár placek do díry na into her pancake hole? chlebárny lívanec. placky. EXPL: Max wants Caroline to be quiet and creates a euphemism to refer to Caroline’s mouth – pancake hole (because they are eating pancakes). SUB: Chlebárna is a slang word which refers to mouth. Despite the fact that they are eating pancakes and that is the reason why the pancake hole was created in the first place, using chlebárna is not ruining the joke of Caroline being quiet. (change) DUB: Dubbing copies the phrase directly and the pun is preserved. (same/similar)

(S: PUN – PUN) (D: PUN – PUN) S02E14 C: What is this wood C: Proč je pod nohou to C: Co je ta dřevěná věc pod thing under the leg? dřevo? nohou? M: It´s the shim. M: to je sokl. M: To je klínek...... C: I don´t know what C: Nevím, co je to sokl! C: Netuším, co je to klínek! a shim is! I thought it Myslela jsem, že je to Myslela jsem si, že je to was just one of those jeden z tvých výrazů! jedno z těch slov, co říkáš! things you say! M: A co by to podle tebe M: Co to podle tebe mělo M: What did you think it bylo? bejt? could be? C: Nějaká slovní C: Já měla za to, že je to C: I thought it was a cool přesmyčka. SoKl jako zdrobnělina! Ženy mají klín word blend. You know, Slečna + Kluk, označení a mladé holky mají klínek. like she/him for transsexuála. M: Myslela sis, že mladá a transsexual – a shim. M: A podle tebe nám vagína nám podepírá sporák? M: You thought a tiny troubu podepírá malý transsexual was holding transsexuál? up our stove? EXPL: The pun is based on Caroline’s misinterpretation of what a shim is. The

explanation she provides is one of several possible. SUB+DUB: Both renderings are very well-done. They managed to preserve the wordplay and fit perfectly into the meaning. (S: same/similar; D:change)

(S: PUN – PUN) (D: PUN – PUN) S02E19 That´s Tina, a lesbian who To je Tina, co kazí To je Tina, tuní heteráčky. turns straight girls. I call heteračky na lesbičky. Říkám jí Tina Tuner. her Tina the Turner. Říkám jí Kazišuk Tina. EXPL: The pun is based on the reference to an American singer Tina Turner (even though she is not gay). SUB: Subtitles omit the wordplay and the reference and render only the meaning. (humorous) DUB: Dubbing adjusts the wordplay to Czech preserving the reference and the pun as well. (same/similar)

(S: PUN - NON-PUN) (D: PUN – PUN) S03E02 C: So now I am on Go Fund C: Takže teď zkouším, C: Takže, teď jsem na Yourself. Vypište mi. Financujte se sami. M: Oh, perfect. I’ve been M: No super. Já ti říkám M: No, výborně. Léta ti telling you to go fund „vypiš mi” už léta. říkám, ať se financuješ yourself for years. sama. EXPL: The pun is based on vulgar phrase with a change of two consonants in word fund - Go Fund Yourself. SUB: The pun is nicely preserved; the vulgar phrase is easily retrievable (changing p to l). (same/similar) DUB: Dubbing simply copied the phrase from original and translated it. However, the reference to the vulgar phrase was lost. Despite this fact, the humorous load can still be preserved. Girls are broke and dependent on each other and Max always makes fun of Caroline to take care of herself. (humorous)

(S: PUN – PUN) (D: PUN – NON-PUN) S03E04 I got side tracked by this Zaujaly mě obrázky Zaujala mě stránka se buzzfeed list of misspelt zpackaných tetování. Jedna zpackaným tetováním. tattoos. This girl got “You holka má na krku „Ráda Tahle holka vyfasovala na go grill!“ on her neck. She vařím!“ Ta musí vaření krk „Víc se smaž!“ Ta must really like to cook milovat. musí mít ráda vaření. outside. EXPL: The wordplay is based on misspelt phrase of encouragement You go girl!. Instead a sentence encourages someone to go and grill. SUB: Subtitles managed to preserve the meaning of the utterance, however it is not obvious that the phrase should be somehow misspelt, therefore the pun is lost. On the other hand, the absurdity of the statement (why would someone like to have something like that tattooed) may cause laughter, so the joke is not necessarily lost. (humorous) DUB: Dubbing found a perfect encouragement phrase Víc se snaž! and managed to preserve the reference and the meaning as well. (same/similar)

(S: PUN – NON-PUN) (D: PUN – PUN) S03E08 C: That’s not a surfboard, C: To není surf ale C: On je surfař, ne skejťák.

that’s a snowboard. snowboard. M: Ale já jsem sketa a končím M: Perfect, ’cause I’m M: Výborně, protože tenhle hovor. snow-bored with this tenhle rozhovor už mě conversation. ledově nudí. EXPL: Pun is based on homophones of snowboard and an invented word snow-bored. SUB: Subtitles deal with the wordplay quite successfully – even though they did not preserve the pun, word ledově fits into overall discussion. DUB: Dubbing completely changes the meaning in order to preserve the wordplay. They based the wordplay on sound similarity of words skejťák and sketa. (omission)

(S: EDT) (D: PUN – NON-PUN) S03E09 M: My new roommates, M: Koště a mop jsou mý M: Mí kámoši v bytě – koště the broom and the mop, spolubydlové, tak mi a mop – mi neslídéj don´t sneak around nečmuchej ve věcech. v osobních věcech. looking at my stuff...... C: Třeba ti tvůj nový C: No, možná ti ten tvůj C: Well, maybe your new kámop podrží vlasy, až kámop, upraví vlasy, až se broommate, will hold your se opiješ. opiješ. hair back when you drink too much. EXPL: The pun is created by blending words broom and mate (broommate) which makes the reference to word roommate, as Max is hiding in a cleaning closet. SUB+DUB: Both subtitles and dubbing used the same strategy of blending as in original. Rendering this wordplay is very successful as Czech offers similar words to blend kámoš and mop (kámop). Even though it does not have exactly the same meaning as a roommate, it still carries very similar meaning. (same-similar)

(S:PUN – PUN) (D: PUN – PUN) S03E13 I like this cold Mně zima vyhovuje. Aspoň Zbožňuju chladné počasí. weather. I get to wear otestuju svůj čín-čílový Nasadím papachu ze my chin-cheetah hat. klobouk. sněžného pardála. EXPL: The pun is created by blending words chinchilla and cheetah. Caroline doubts the existence of chin-cheetah but Oleg insists that his hat is made out of the last animal. SUB: Subtitles do not translate the chin-cheetah but only prolong the first vowel of the real animal čín-čila. (omission) DUB: Dubbing uses a name of eastern-European hat papacha and invents the animal – sněžný pardál. This translation is creative and well done. (change)

(S: PUN – NON-PUN) (D: PUN – PUN) S03E13 Do you mind? Harry Dovolíš? Harry Potěra Neruš. Harry Potěr a já se Pothead and I are trying já se učíme. snažíme studovat. to study. EXPL: The pun is based on substituting Harry’s surname with Pothead (referring to someone who likes and enjoys smoking pot). SUB+DUB: Subtitles and dubbing rendered Harry Pothead the same – Harry Potěr. Even though the reference to pot is lost, they try to humorously adjust his name to preserve the joke.

(S: PUN – RRD) (D: PUN – RRD)

S03E16 H: No, Sophie, we got an H: Ne, Sophie, máme H: Ne, Sophie, Máme ATM. bankomat. ATM! M: I thought we already M: Já myslela, že M: Jednoho ATM už had an ATM. Asian bankomat už máme. máme. Asijskýho transgender male. BANgkokský, transsexuálního muže. KOmediantský MATlák. EXPL: Wordplay based on literal and metaphorical meaning of acronym ATM. ATM stands for an automatic teller machine and Max creates a pun on using different words for the abbreviation. SUB: Subtitles substituted ATM with its Czech equivalent bankomat and invented its own explanation of the acronym using first syllables of words BANkogský KOMediantský MATlák. (same/similar) DUB: Dubbing copies the acronym and its explanation directly from the original. Even if the viewers did not know the acronym, explanation of what it stands for is humorous and therefore the joke would not be lost (and the ATM is in the visual layer). (same/similar)

(S: PUN – PUN) (D: PUN – PUN) S03E16 Deke Mc-richy, Mc- Deke Boháček Deke McPracháč, Mc- never-had-to-work-for- z Nemakačenkova? nikdy jsem nemusel anything? --- makat? --- Ríša Boháček --- Richy rich-pretended-he- z Rádobychudenic. Mc-Rádobyšvorcstein. was-poor-instein. EXPL: Max calls Deke insulting names after she finds out he is rich and not poor as he was presenting himself. She uses prefix Mc- and suffix –stein which are quite usual in surnames. SUB: Subtitles use previously mentioned nemakačenko and Rádobychuděnic, which are very accurate renderings. (same/similar) DUB: Dubbing mostly directly copies the original version but creates nice names as well – Rádobyšvorcstein. (same/similar)

(S: PUN – PUN) (D:PUN – PUN) S03E18 It´s my jaw. I’ve got real Bolí mě čelist. Mám těžkou Bolí mě čelist. Mám bad T.M.Z. pomlouvatitidu. namoženej pant.

EXPL: Max and Caroline make excuses so they do not have to participate in spring cleaning. SUB: Word pomlouvatitidu is a nice made-up word referring to an illness Max has. (same/similar) DUB: Pant is a slang word used to refer to jaw. The pun is therefore preserved. (same/similar)

(S: PUN – PUN) (D:PUN – PUN)

5.1.5. Further wordplay occurrences

S02E02 Nah, I´ve had plenty of Ne, perlových Ne, měla jsem spoustu Pearl Necklaces, and náhrdelníků jsem už náhrdelníků, víc zlobí, než I find them more sticky zažila plno, byli spíš zdobí. than lucky. lepkavý, než šťastný.

EXPL: The pun is based on expression several meanings of pearl necklace (sexual context). SUB: The subtitler provides the viewers with an explanatory note before viewing this episode thus they understand what a pearl necklace is and how it can be sticky. Even though the rendering simply translated the original, the pun is understandable. (same/similar) DUB: Dubbing used generalisation, omitting the sexual reference, but involving a rhyme to compensate for it (zdobí-zlobí). As dubbing does not have an advantage of footnotes, this translation is nice.

(S: PUN – PUN+EDT) (D: PUN – RRD) S02E20 Probably a 7-10 split. Vypadá to na split. Asi trefujou žlábek. EXPL: The pun is based on figurative meaning of the bowling phrase (sexual reference). SUB+DUB: In both cases, the bowling jargon is preserved and the sexual reference is understandable from the context. (same/similar)

(S: PUN – PUN) (D: PUN – PUN) S02E21 C: No, that´s the hot Asian C: Ne, to je ten asijský C: Ne, to je ta azijská hvězda star from Hawaii Five-0. hezoun z Hawaii 5-0. z Hawaii 5-0. H: What? We kinda look H: No a co? Jsme si H: Vždyť jsme jako dvojníci. alike. podobní. M: To jediný, co máš M: The only thing you have M: S tím klukem společnýho s tím chlápkem in common with this guy z Hawaii 5-0 máte s Hawaii 5-0 je výška 5.0. from Hawaii Five-0 is that společného leda to, že you are 5’0’’. máte pětky boty. EXPL: The joke is based on comparing Han to muscular guy from Hawaii Five-0. The wordplay is based on different uses of number five. SUB: The original joke refers to Han’s height; however it is difficult to create a height reference in Czech using word five. Connecting it to a shoe size (size five translates to approx. 37 which is very small for a man). (change) DUB: Dubbing directly copies the joke and adds word výška so that the reference is obvious. (same/similar)

(S: PUN – PUN) (D: PUN – PUN) S03E03 Why wouldn´t they? She´s Proč by ne? Ona je No a proč ne. Ona je zrzka a foxy redhead and he´s zrzka a on hřebec. a on je hřebec. a stud.

EXPL: This compliment is aimed at a cat and a horse. These attributes are often used to describe people. SUB+DUB: Both rendered the compliments with same words. (same/similar)

(S: PUN – PUN) (D:PUN – PUN) S03E04 C: Wait till you see what C: Počkej, co přijde, až si C: Jen počkej, co se stane, happens when I place an někdo objedná ruská když objednám steak ryba order for a bone-in rib vejce. i s kostí. eye. M: Má recht. Ukazuje M: To je pravda, ukáže nám M: It´s true. He shows us nám penis pokaždý. penis pokaždý. his penis every...

EXPL: Bone-in rib eye is a steak that is served with the bone as well. Bone or boner can also refer to penis. SUB: Subtitles adjusted the steak to ruská vejce – even though it changes the meaning a new pun arises because Oleg is of Russian origin. (change) DUB: Dubbing preserves the name as the follow up. (same/similar)

(S: PUN – PUN) (D: PUN – PUN)

5.2. Cultural references

S02E01 Yeah, I don´t know Nevím co je horší – být tu Nevím, co je horší – být what´s worse: being zavřenej nebo vypadat jako zavřený nebo vypadat locked up or looking like prodavač z konfekce. jako prodavač you work at a banana z banánové republiky. republic. EXPL: Banana republic is an American retailer which sells luxurious clothing and accessories. Shop assistants in these shops usually have a dress code which reminds Caroline’s father of clothes he has to wear in prison. SUB: Subtitles handle this translation nicely, using generalisation. Maybe one minor adjustment to prodavač konfekce which accurately describes the position. DUB: Dubbing renders different meaning of the phrase banana republic and translates it directly. However, even this translation may be functional as the viewers see what he wears and they can therefore create an association (even if it is not correct).

(S: DOM, GEN) (D: FOR,DT) S02E02 What´s next? A clothing Co přijde dál? Oblečení Co bude dál, fronta na line at Target? z Targetu? prádlo u Tiffaniho?

Even though Czech viewers may not be familiar with the store retailer, the context makes the meaning obvious (something improbable). Therefore dubbing version is unnecessarily complicated.

(S: FOR, RET) (D: DOM, S-DI)

S02E02 Wow, Han. You look like Pane jo, Hane. Vypadáte, Nepřejel tě na karnevalu you were hit by a Mardi jakoby jste přišel alegorický vůz gay- Gras and a Gay Pride z masopustu a pochodu pride? float. gayů. EXPL: Han comes to the diner dressed in colourful clothes somewhere on the scale of Gay Pride and carnival attendee. Both on occasions of Mardi Gras and Gay Pride, people dress up in colourful costumes and then tour on a float (which is a decorated vehicle). SUB: Subtitles used domestication strategy exchanging Mardi Gras for masopust. However, connotations for these two might be very similar (people wearing colourful costumes). Thus subtitles preserve the meaning with a slight change of form. DUB: Dubbing also successfully combines the two referring to Mardi Gras as carnival. Alegorický vůz is a Czech version of float.

(S: DOM,S-TL) (D: DOM, GEN) S02E02 You beat HPV with Zaženeš HPV Vyléčila sis čípek Tylenol. And it wasn´t ibuprofenem. A ani to aspirinem. Který ani nebyl even the name brand! nebylo nic značkového! značkový!

EXPL: HPV is an STD that can lead to cervical cancer. Tylenol is a painkiller. SUB+DUB: Čípek is a place where the cancer occurs. Both ibuprofen and aspirin are painkillers and thus equivalents to Tylenol.

(S: FOR, RET) (D: DOM, S-TL) (S. DOM, S-DI) (D: DOM, S-DI) S02E04 I didn´t know I was Nevěděla jsem, že mluvím Netušila jsem, že mluvím talking to Cagney and s Bonnie a Clydem. s Cagneyovou Lacey. a Laceyovou. EXPL: The reference is to American TV series Cagney and Lacey (both police women). SUB: Subtitles substituted the reference with Bonnie and Clyde even though it is not accurate because they were thieves, not cops. DUB: Dubbing preserved the reference (only change is the female-marking suffix – ová).

(S: DOM, S-DI) (D: FOR,RET) S02E05 M: I'm at the end of my M: Moje dobrá mi došla M: Došla mi dobrá good lipstick and I can't a na novou nemám a tohle rtěnka a na novou afford to buy a new one so jsem viděla v televizi. nemám tak dopadnu jako I'm going all Breaking C: V televizi? To jen perníkovej táta. Bad. nějaký tele mělo vizi. C: Perníkovej táta? C: Breaking bad? We are Jsme spíš jako dvě more like broke and sad. socky.

EXPL: As Breaking Bad is well-known TV series in Czech Republic with official equivalent, it did not pose a translation crisis. The pun is based on sound assimilation of Breaking Bad and broke and sad. SUB: Subtitles opted for generalisation in order to keep the phonetic wordplay. This proved to be a very nice and functional solution. DUB: Dubbing nicely preserved the original reference and cleverly uses dvě socky (the official equivalent of the TV series’ name). Very nice and elegant solution.

(S: DOM, GEN) (D: FOR, RET) S02E05 Credit cards are more Kreditní karty nadělají víc Kreditní karty jsou větší trouble than a priest at škody než kněz v malér než kněz na koncertě a Wiggles concert. chlapecké škole. Wiggles. EXPL: The Wiggles is a band performing for children. SUB: Subtitles adapted the pun more to address a problematic issue in Czech culture. DUB: Dubbing preserves the original supposing the Czech audience will be able to understand the inappropriateness of such situation.

(S: DOM, GEN) (D:FOR, RET) S02E06 E: Does anyone know E: Ví někdo, jak se dělá E: Ví někdo, jak se dělá how to make Sex on the Sex on the Beach? Sex na pláži? beach? O: Snadno. Hodím na sebe O: Snadno. Oblíknu si O: Easy. I put on my plavky a čekám. plavky a čekám. speedo and wait. EXPL: Sex on the beach is an alcoholic drink (well-known and available in Czech Republic). SUB: Subtitles preserved the original name of the drink. DUB: : In this case, translation seems to be unnecessary as the drink is internationally well-known and even if someone may not be familiar with it, the sexual reference is easily comprehensible from Oleg´s comment.

(S: FOR, RET) (D: FOR, DT) S02E06 C: Oh, my God! This is C: Bože můj! Tohle je C : Bože, tohle je opravdu really a soup kitchen! (…) vážně Armáda Spásy! vývařovna! (...) Nejsme We´re not homeless! (...) Nejsme bez domova! M: No, but we are soup- bezdomovci. M: Ne, ale jsme bez less. And it‘s not just M: Ne, ale jsem bez polívky! A nechodí sem homeless people who eat peněz. A nejí tu jenom jíst jenom bezdomáči. here. bezdomovci. EXPL: The name of the restaurant where Max wants to take Caroline is Soup Kitchen which is what the restaurant really is (a place where food is offered to those in need for free or below its price). SUB: Subtitles rendered soup kitchen as vývařovna which has the same connotations. Vývařovna is usually not a very fancy place where one can go and have a cheap meal.

(S: DOM, S-DI) (D: DOM, GEN)

S02E06 Even as a kid, I would Už jako kluk jsem Už jako kluk jsem chtěl, have my G.I Joes sell nechával své G. I Joes aby mí vojáčci prodávali sweet Tarts to my prodávat dorty lentilky transformerům. Transformers. transformerům. EXPL: Sweet tarts are candies resembling lentilky. G.I.Joes and Transformers are blockbusters and they have official equivalents (which are the same as in English).

(S: OE) (D: DOM, GEN) (S: DOM, GEN) (D: DOM, S-TL) (S: OE) (D: OE) S02E06 I am gonna be a sloppy Hamburger půjde ven asi Myslím, že asi tak za dvě joanne in about two tak za dvě sekundy. vteřiny budu blinkat. seconds. EXPL: Sloppy Joe is a type of American hamburger. Max and Caroline previously ate the hamburger and in this case to be a sloppy joanne suggests that Caroline is going to be sick. SUB+DUB: Dubbing and subtitles omitted the reference to the hamburger and only rendered the meaning of utterance.

(S: DOM, GEN) (D: OM) S02E06 You two are like Hans and Vy dva jste jako Vy dva jste jako Jeníček a Gretel. Jeníček a Mařenka. Mařenka. In this case, both dubbing and subtitles use the official equivalent in Czech. (S: OE) (D: OE) S02E07 C: His butterfingers got C: Jeho prstíčky se ani C: Jeho prstíky se nowhere near my mounds. nepřiblížili k mým nedotkli mých koblížků. (...) horám. (...) (...) M: Well, your mounds are M: Tvý hory jsou spíš M: Tvý koblížky jsou spíš more like Sno-Caps, but kopečky, ale pokračuj. lentilky, ale pokračuj. continue. EXPL: This conversation is based on candy metaphors to refer to Caroline’s breasts. (Butterfingers, Mounds and Sno-Caps are all names of candies). SUB: Caroline is in a relationship with Candy Andy and it is a pity to omit these nice references. The subtitles preserved the meaning but not the form. DUB: Dubbing uses generalisation but preserves the candy references.

(S/D: OM) (S: DOM, GEN) (D: DOM, GEN) (S: DOM, GEN) (D: DOM, GEN) S02E07 And young man, if you A mladíku, jestli mi Mladíku, jestli se nestavíš don´t swing by your store nepřineseš z obchodu v krámku pro nějakou and bring me some Pixy něco pod zub, mou sladkost, už moji holčičku Sticks, you´ll never see holčičku víckrát neuvidíš. my little girls again. neuvidíš. EXPL: An American candy Pixy Sticks neither has an alternative in Czech culture nor a Czech translation. SUB+DUB: As the exact type of candy is not necessary both S and D rendered the utterance using generalisation referring to Pixies with něco pod zub or nějakou

sladkost. Later on, Max gets her Pixy Sticks therefore this strategy proved to be successful (the decision not to replace the candy for some Czech candy) as the clash between image and translation would occur.

(S: DOM, GEN) (D:DOM, GEN) S02E07 Why do you think, we Proč myslíš, že už Proč už nemáme koblihy don’t serve bagels neprodáváme bagely? s dírou uprostřed? anymore? EXPL: Bagels are a popular pastry originating from Poland, widely consumed in the USA. Even though bagels can be now purchased in Czech Republic as well, it is not a common type of pastry; therefore many people may not understand the joke. SUB: Preserved the item. DUB: Dubbing changes the image and substitutes bagels with international item which originates in the USA as well, but uses specification in order to make the joke more comprehensible.

(S: FOR, RET) (D: DOM, S-DI) S02E08 I´m real deep because of Já to dělám, abych Dělám to, abych splatila Powerball. splatila dluhy. Kvůli část dluhů. Jsem na to fakt sázení v nich vězím až blbě kvůli Powerballu. po uši. EXPL: Powerball is a popular American lottery game (a Czech equivalent could be EuroJackpot). SUB: Subtitles use generalisation, an understandable strategy. DUB: Dubbing relies on the context that the viewers will connect Powerball to something you need to invest your money to.

(S: DOM, GEN) (D: FOR, RET) S02E09 M: You don’t think he would M: Podle mně by uvítal M: I on si rád odpočine enjoy a night off from oddech od dotěrných od neustálého constant Maroon 5 otázek na Maroon 5. otravování s vínovou 5. badgering? He would. EXPL: Max and Caroline are redecorating their shop in this episode. Reference to Maroon 5 is ambiguous – it refers to the pop band and a colour shade. Neither subtitles nor dubbing managed to preserve the ambiguous meaning. SUB: Subtitles retained the reference to the pop band Maroon 5 which changes a context a bit (as Caroline and Max are redecorating their store) but still makes sense and makes Caroline a fan of the band. DUB: Dubbing opted for the other sense and stays within the context of redecorating despite losing the reference to the band.

(S: FOR, RET) (D: OM) An alternative translation could be: Myslíš, že by si nechtěl odpočinout od neustálýho poslouchání o tom, že modrá je dobrá? In this case, both senses are preserved – on redecorating and band reference as well. S02E09 I just got a glimpse of you Jako bych tě viděla při Na moment jsem tě at a Barneys´ sample sale. výprodeji v Barneys. takhle viděla při výprodeji u Barneyho.

Both dubbing and subtitles keep the name of the story as it is internationally known.

(S: FOR, RET) (D: FOR, RET)

S02E09 She said she was sick Píše, že je nemocná, Říká, že je nemocná, Condé Nasty! Condé Nasty! otrokářko!

EXPL: Condé Nast is a mass media company owning popular magazines such as Vogue. Many of their interns work for free or are paid below the minimum wage.

(S: FOR, RET) (D: DOM, GEN)

S02E10 M: Do I smell M: Cítím dobře čokoládu? M: Cejtím čokoládový chocolate chips? And A strejda Andy dělá chipsy? A dělá snad strejda is Uncle Andy making lívance? Andy placky? pancakes? Equivalent to chocolate chips in Czech is čokoládové kousky or kapky or a description can be used: něco s čokoládovými kousky. Direct translation čokoládové čipsy is not correct. There are various types of pancakes but Czech term placky does not necessarily refer to pancakes the characters are eating.

(S: DOM, GEN) (D: FOR, DT) (S: FOR,RET) (D: DOM, GEN) S02E11 She can´t see me like Nesmí mě takhle vidět. Nesmí mě v tomhle vidět! this! I was Měla jsem řeč na její Promovali jsme spolu. a valedictorian! rozlučce se školou. EXPL: A valedictorian is someone who delivers closing speech at graduation ceremony. It is a great honour and usually the highest ranking students are chosen. SUB: Subtitles describe who is a valedictorian. This rendering is apt, it suggests that the girl will remember Caroline and she cares about her good reputation. DUB: The term is generalised and the contextual knowledge is necessary (the viewers know that Caroline graduated from an Ivy League school).

(S: FOR, SPF) (D: DOM, GEN) S02E11 M: You look delicious! M: Vypadáš M: Vypadáš chutně. C: I look like Honey k nakousnutí. C: Jo, vypadám jako máma Boo-Boo´s mum on C: Vypadám jako Honey Boo-Boo na plese. a prom! tlustoprdka na plese. EXPL: Here Comes Honey Boo Boo is an American reality show featuring Honey Boo Boo, a young beauty contest attendant and her corpulent mother. SUB+DUB: Subtitles used generalisation in order to preserve the joke. Dubbing preserved the reference.

(S: DOM, GEN) (D: FOR, RET) S02E12 C: ... so we should C: ... takže musíme C: ... tak bychom měly get our decorations up připravit vánoční rychle udělat vánoční ASAP, or Santa won't výzdobu, nebo nás Santa výzdobu,nebo nás Santa

know where to find us. nenajde. nenajde. M: Oh, he'll know where M: Ale to víš, že najde. M: Bude vědět, kde nás to find us. We'll be the Budeme dvě bezďačky, najde. Budem dvě two evicted girls eating co vybírají ovoce bezdomovkyně, co jedí fruitcake out of a z popelnice. vánočku z popelnice. dumpster.

EXPL: Reference to Santa obviously does not ned to be translated without any doubt. Fruitcake is an American cake made especially in Christmas season (containing mostly dried fruit and alcohol e.g. rum or whiskey). SUB: Subtitles left out the reference to fruitcake and shortened it just to fruits. DUB: Dubbing preserved the reference to Christmas, replacing fruitcake with vánočka. (S: FOR, RET) (D: FOR, RET) (S: DOM, GEN) (D: DOM, S-TL) S02E13 Hey, keep out of it, Nepleť se do toho, slečno Ty mlč, čarodějko ze Glinda the good bitch. tunelářko. země bez koz.

EXPL: Glinda the Good Witch is one of the characters in Baum’s The Wonderful Wizard of Oz. SUB: Subtitles replace the original with different allusion as this statement was addressed to Caroline whose father is accused of financial fraud. The reference to the Land of Oz was not necessary in the context, the translation is acceptable. DUB: Dubbing creates a very nice allusion to the book instead of the character.

(S: OM) (D: DOM, S-DI) S02E14 H: Okay, I am in too. H: Fajn, jdu do toho taky. H: Dobře, přidám se. Carl, make ma a Sea Earle, namíchej mi Sea Udělej mi Mořský vánek Breeze. Easy on the Breeze. S vodkou opatrně. a Vánkem šetři. breezy. EXPL: Sea Breeze is an alcoholic drink. SUB: Verb namíchej mi suggests something liquid so even though someone did not know what a Sea Breeze is, it is understandable from the context. The follow up makes the meaning even more obvious. DUB: Dubbing translated the name of the drink and retained the play on words.

(S: FOR, RET) (D: FOR, DT) S02E14 Speaking of Chris Když je řeč o Chrisu Když jsme u Chrise Brown, I´m gonna Brownovi, začnu šlehat. Browna, začnu bouchat start to batter. těsto. EXPL: Chris Brown used to be Rihanna’s boyfriend and their relationship ended after he assaulted her. SUB+DUB: Both verbs – šlehat and bouchat – can be used to describe an act of violence. In this case, it is not possible to assess if the viewers will understand the allusion. However, name of Chris Brown is preserved in both cases and therefore the translators believe that the audience will possess necessary background knowledge.

(S: FOR, RET) (D: FOR, RET)

S02E16 Boom, magic! Suck it, Bum! Kouzlo! Jdi se Bum! Kouzlo! Čum, David Blaine. vycpat, Copperfielde! Davide Blaine!

EXPL: Both David Blaine and David Copperfield are well known magicians. DUB: There is no obvious reason why dubbing decided to replace Blaine for Copperfield (though he might be a bit better known).

(S: DOM, S-DI) (D: FOR, RET) S02E19 That´s Tina, a lesbian who To je Tina, co kazí To je Tina, tuní heteračky. turns straight girls. I call heteračky na lesbičky. Říkám jí Tina Tuner. her Tina the Turner. Říkám jí Kazišuk Tina. EXPL: The pun is based on the reference to an American singer Tina Turner (even though she is not gay). SUB: Subtitles omit the wordplay and the reference and only render the meaning. DUB: Dubbing adjusts the wordplay to Czech, preserving both the reference and the pun.

(S: OM) (D: FOR,RET) S02E19 I once texted “yes” to Jednou jsem poslala hlas Poslala jsem hlas Chazu Mr. Chaz Bono on tranďákovi do Bonovi do StarDance. Dancing with the Stars. StarDance. EXPL: Chaz Bono is a transgender man, son of Cher and Sonny Bono, famous in the USA. Dancing with the Stars is an internationally known show where celebrities dance with professional dancers. SUB: Subtitles preserved reference to the show since it has an official equivalent in Czech. Reference to Chaz was generalized to preserve the joke because he is not very well known in Czech Republic. DUB: Dubbin preserved the reference to Chaz Bono and used official equivalent for the show.

(S: DOM: GEN) (D: FOR, RET) (S/D: OE) S02E22 Well, it just so happens. Shodou náhod jsem byla Čistě náhodou mě kulka I have been hit by a bullet dvakrát postřelena. Jednou zasáhla už dvakrát. twice – once at 7/11 and ve fastfoodu 7/11. Jednou u nás v sámošce once running away in the A jednou na parkovišti při a po druhý při útěku na parking lot of 7/11. útěku ze 7/11. parkoviště u sámošky. EXPL: 7/11 is an (mostly) American convenience store. SUB: Subtitles incorrectly render it as a fast-food, but otherwise the reference is preserved.

(S: FOR, SPF) (D: DOM, GEN)

S03E01 Kim and Kayne had a baby Kim a Kayne mají dítě, Kim a Kayne mají dítě, so now there´s another takže je tu další takže další Kardashian co Kardashian to not keep up Kardashian, na se nedá vystát. with. kterýho můžeme házet bobek. EXPL: The reference is to US programme Keeping up with Kardashians which is officially translated into Czech as Držte krok s Kardashians. SUB+DUB: None of the translations exploited the official equivalent. Max also makes it very clear that she is not the biggest fan on several occasions therefore making the statement more personal does not pose a problem. However, both dubbing and subtitles dealt with the translation well, keeping the actual sense despite not keeping the reference.

Alternative translation could be: Kim a Kayne mají dítě, takže je tu další Kardashian se kterým nechci držet krok (on assumption that the TV show would be widely known in Czech Republic).

(S: FOR,RET) (D: FOR,RET) (S: OM) (D: OM) S03E01 Bring down the Mírni nadšení, Rachael Uber na entuziasmu, enthusiasm, Rachael Ray. Ray. pekařinko. EXPL: Rachael Ray is an American celebrity cook.

(S: FOR: RET) (D: DOM, GEN) S03E03 There you go. You live in Tak běž. Teď bydlíš Tak utíkej. Teď seš Park Slope now. You can v Park Slope. Můžeš parková kočka, můžeš adopt and African baby adoptovat africký mimčo adoptovat africký dítě and wheel it around in a a vozit ho v kočárku za a jezdit tu v kočárku za 900 dollar stroller. 900 dolarů. 900 dolarů. EXPL: Park Slope is a nice old part of Brooklyn. It was previously mentioned in the dialogue that Park Slope is like Beverly Hills of Brooklyn. SUB: Subtitles preserved the reference. DUB: Dubbing omitted reference to Park Slope and rendered it incorrectly calling the cat parková kočka. This does not necessarily carry the meaning of the cat living in a fancy neighbourhood now.

An alternative could be e.g. generalisation: Teď si kočka z nóbl čtvrti.

(S: FOR, RET) (D: DOM,GEN) S03E04 (...) how about a brand- (...) co koupit i nový Co třeba modernější new coffeemaker? One kávovar? Nějaký, co kávovar, co nebude jako that isn´t from an nepamatuje France z obrazu Edwarda Edward Hopper Josefa. Hoppera? painting.

EXPL: Edward Hopper was an American realist painter and the allusion implies that something is quite old. SUB: Subtitles use domestication strategy and change a simile closer to Czech culture. DUB: Dubbing retains the original version.

Another alternative translation could be: Co nepamatuje ještě léta páně? (S: DOM, S-TL) (D: FOR, RET) S03E12 Roses are red, violets are Byl pozdní večer, první Květiny kvetou, pívají blue, get a job! máj, najdi si práci! ptáci, najdi si práci! EXPL: Poem Roses are red is quite often exploited to create humorous and absurd poems on different subjects. However, this poem does not have a Czech equivalent. SUB: Subtitles use first line of Mácha’s poem which is a creative rendering. DUB: Dubbing creates a short rhyme (ptáci-práci)

(S: DOM, S-TL) (D: DOM, GEN) S03E12 Hang out with Deke? Jít někam s Dekem? Na Večer s Dekem? To si I didn’t even like the šašky se nedívám ani můžu rovnou sednout Muppets on TV. v televizi. k televizi. EXPL: The Muppet Show is a TV comedy, using puppets as main characters. SUB+DUB: Subtitles use word šašky (meaning something stupid and funny) to refer to Muppets. Dubbing omits the Muppets completely, generalising the statement to watching TV.

(S: DOM, GEN) (D: OM) S03E12 Kendall Jenner is Kendall Jenner sehlásí Britney Spears se hlásí na applying to college? na střední? vysokou? EXPL: Kendal Jenner got famous for her appearances in Kardashian reality show. She is also known as an Instagram model. The reference to her suggests that she is not a celebrity for her brains. SUB+DUB: Subtitles retained the reference to Jenner but incorrectly rendered college to střední. Dubbing decided to change Kendall for Spears who presumably shares same qualities.

(S: FOR, RET) (D: DOM: S-DS) S03E14 To be fair, this place wasn’t Na druhou stranu ani Přiznejme si, že tohle místo Walmart on Black Friday předtím tu nebyl nebylo žádný rito ani před before the car showed up. zrovna frmol. zaparkováním tý káry. EXPL: Black Friday is a day of huge discounts (it is spreading to our society as well). Americans are particularly crazy about shopping on this day, there are enormous queues and the people literally have fights for reduced goods. SUB+DUB: Both renderings used generalisation suggesting the place was not busy anyway. An alternative translation could be: Na druhou stranu, ani předtím tu nestály řady jako na Black Friday. Many shops in Czech Republic have big sales on Black Friday, therefore the reference is comprehensible for Czech viewers.

(S: DOM, GEN) (D: DOM, GEN)

S03E15 Oh, one time I played Seven Já jednou hrála flašku. Kdysi dávno jsem hrála minutes in heaven. Well, Teda, měla jsem flašku na slepou bábu. Srazil mě I got hit by a bus, and I was a hrála jsem si s ní. autobus a byla jsem sedm dead for seven minutes. minut mrtvá. EXPL: Seven minutes in heaven is a teenage party game. SUB+DUB: In both cases it was translated into Czech equivalents of teenager or children games and as the actual game is not overall important, both translations work well.

(S: DOM, S-TL) (S: DOM, S-TL) S03E18 Cracked it, Watson. Záhada vyřešena, Watsone. Prosté, Watsone. Dubbing is particularly nice as it uses the reference Sherlock Holmes’s line (he usually uses it when he solves something) - Elementary, Watson. Both use retention as the reference to Watson is obvious.

(S: FOR, RET) (D: FOR, RET) S03E19 Sorry, no cuts, no buts, Žádné strkání, předbíhání, Promiň, nepředbíhat, no coconuts. ani povídání. nestrkat, nepřemlouvat.

A children’s rhyme when someone is breaking the queue. As Czech does not have a similar rhyme, translators needed create compensation. They both relied on the phonetic factors, subtitles used ending –ání and dubbing using infinitive form without to.

(S: DOM, GEN) (D: DOM, GEN) S03E21 I mean, love works out Na lásku je menší spoleh Láska je spolehlivá jako less than Chris Christie. než na Microsoft. předpověď počasí. EXPL: Chris Christie is an American politician who was once quite popular but after he got involved in a scandal, his political career stagnated. Reference to him would not be comprehensible for the Czech audience since he is not an international politician, therefore both translators decided to use domestication strategy. SUB+DUB: Dubbing opts for generalisation with very clear meaning. Subtitles make an allusion on Microsoft which should be easily understandable as well.

(S: DOM, S-DI) (D: DOM, GEN)

5.3. Expressions without Czech alternative

S02E02 C: Stop sober dialling C: Uvědom si, že nejsi C: Přestaň už vytáčet Martha Stewart. střízlivá, a přestaň ji volat! Marthu Stewartovou! M: Who says I am M: Kdo tvrdí, že jsem M: Proč vytáčí mně? sober? střízlivá?

EXPL: The pun is based on creating opposite to expression drunk dialling (calling someone drunk, mostly embarrassing oneself). SUB: Subtitles render it as if Max was actually drunk dialling and thus it preserves the wordplay. DUB: Dubbing omits the reference to sober/drunk dialling but uses verb vytáčet and exploits both meanings – to dial someone’s number and to make someone angry. S02E06 Being in a candy store Jít po půlnoci do cukrárny Být o půlnoci v cukrovinkách after midnight is on my mám na bucket listu. byl můj tajnej sen. bucket list. EXPL: Bucket list is a list of things that one would like to do or achieve before death. In Czech there is no official equivalent to this expression (though bačkorový seznam can be found). It is a neologism a thus the translators need to find way to cope with it. SUB: Subtitles provide an explanatory note before the viewer watches the episode, therefore the expression was left untranslated. DUB: Expression můj tajnej sen is quite appropriate in the situation suggesting it is something that she always wanted to do. S02E07 I always thought I´d have Já čekala, že ze mě bude Já myslela, že budu to wait 20 more years to rašple až za 20 let. Ale už udržovaná rašple tak za 20 be a cougar, but, rawr, je to tu. let, ale vrr už jí jsem. here I am. EXPL: A cougar refers to usually a good-looking older woman (in her late 30s/40s) who can be in search of a younger man. SUB+DUB: Both subtitles and dubbing rendered cougar with derogative rašple which does not necessarily correspond the concept. It is advised to use word puma.

S02E21 Look at you. You´re like the No podívej se. Jsi jak řecká Hele, bohyně Greek goddess of booty bohyně příležitostního nadrženejch volání. calls. Aphro-whitey. sexu. Afro-bílá. Afro-díra. EXPL: A Booty call is a phone call or a message whose primary aim is to arrange an intercourse. Czech does not have an official translation. Caroline is about to call Andy and make up a simple excuse for him to come over. SUB: Bohyně príležitostního sexu is a creative way to describe the purpose of a booty call. DUB: Dubbing renders the expression as nadržené volání which is comprehensible and apt. S03E04 C: Morning, Sophie! C: Dobré ráno, Sophie! C: Dobré ráno Sophie! S: You caught me. I am S: Dostaly jste mě! Jsem S: Přistihla jsi mě! Vracím se doing the walk of shame. na cestě hanby. z nočního tahu. EXPL: Walk of shame refers to walk one need to take after they spend night at someone else’s place (usually after a one-night stand). The person still wears clothes from previous evening and usually is not at their best looks. SUB: Subtitles rendered the phrase directly; the context provides all necessary background information. DUB: Vracím se z nočního tahu is a nice translation as well; however it does not cover the whole meaning (the sexual reference).

S03E06 She doesn’t have the Big Nemá velký C. Má Nemá žádnýho raka. C. She barely has the s bídou dvě áčka. Ledatak vaginální opar. double As. EXPL: Big C refers to cancer. The allusion is to Caroline’s small breasts – double A. SUB: Subtitles preserve the form and meaning of the pun, basically rendering exactly the same words. DUB: Dubbing uses term raka which is short for rakovina. It is not possible to render the same pun thus dubbing opts for an STD (which is probably not the best solution). S03E10 Why? Oh. Are you having Proč? Budeme Max Proč? Chcete se do Max an intervention for Max? promlouvat do duše? montovat? EXPL: An intervention is usually held for someone who picks up an annoying habit or in more serious cases e.g. starts taking drugs. The participants usually explain how they feel about it and can offer help or support if it is necessary to seek professional help. It is a tricky word as it does not have a Czech equivalent (in this particular meaning). SUB: Subtitles rendered this word with a description of what it consists of – promlouvat do duše, which is an opt solution. DUB: Montovat se do někoho has a very similar meaning to promlouvat do duše therefore this rendering is successful as well. S03E11 X: Well, at Italian wakes, X: Na italských pohřbech X: Na italských pohřbech the mourners give the dávají hosté rodině dávají truchlící při loučení family a donation after příspěvek poté, co si s mrtvým rodině finanční dar. they view the deceased. prohlédnou mrtvého. M: A přijde vůbec někdo? M: So it´s pay-per-view? M: Takže to je placená televize? EXPL: Pay-per-view refers to a TV service where customers pay for shows they watch. SUB: This rendering is accurate; a slight change made by adding the comparison (Takže je to jako placená televize?). DUB: The meaning is changed, but the translation is understandable as it sounds weird that someone would “pay” at the funeral.

Possible alternative could be: Takže se platí za vstup?

6. Discussion on findings

6.1. Wordplay

6.1.1. Phonological and graphological structure

Category of phonological and graphological puns was the most numerous one - twenty six examples of puns were analysed. Most of the puns were based on homonymy or homophony; there is also one example of onomatopoeic reference. Figure 1 represents how successful was the rendering and what are the compensatory devices used to preserve humour.

18 5 1 1 Subtitles PUN - PUN PUN - NON-PUN PUN=PUN RRD EDT 14 8 12 1 Dubbing

0% 20% 40% 60% 80% 100%

Figure 1: Preserving of the pun based on phonological and graphological structure

Subtitles successfully rendered 18 puns – 14 of the wordplays were directly translated or rendered similarly and in four cases, the image had to be changed in order to preserve the wordplay. Only six instances of wordplay were not preserved, three of them being omitted and three cases of humorous non-pun occurred. Dubbing preserved 14 puns,

74 changing the image in five examples. Eight examples of wordplay were lost - nevertheless, six of them were rendered as humorous non-puns.

As mentioned previously, an important requirement is that the audial layer does not alter the visual one. In many cases, wordplays are quite complex and the rendering would not be easy, even without presence of the visual layer. This can be illustrated on this example:

O: “A: Come on, Caroline, love me. // C: Did you just say, Caroline, love me?! //A:

No, I said Caroline, glove me. What kind of loser would say, love me?” (S02E14)

S: „A: Do toho, Caroline, dej mi více. C: Řekl jsi, Dej mi více? A: Ne, rukavice. Jaký

ubožák říká, Dej mi více?“

D: „A: Tak Caroline, nasuneme. C: Řekl jsi teď, Caroline, zasuneme? A: Ne, řekl

jsem: teď, Caroline, nasuneme. Kterej chudák by řekl, zasuneme?“

Caroline is holding gloves in this scene and helps Andy to put them on. Subtitles nicely managed to retain the reference to gloves and preserved the sound similarity. The sound similarity was preserved in case of dubbing as well; however the wordplay had to be changed, becoming more sexual than romantic. Nevertheless, both wordplay and the reference to visual layer were preserved.

Dubbing compensated for loss of puns with rhyme twice: “Tamten má nového Appla.

A já jsem si do něj ještě neklepla.” (S02E06) and “(…) Su-Min Leeová. Což znamená ’jsem k Max surová’.” (S03E07) This strategy proved to be successful in preserving humorous load. Another compensation strategy was usage of editorial techniques, which was supposed to be almost non-existent in dubbing. However, this strategy was used once in dubbing - the pun was replaced by a clever explanation, which managed to retain the joke and also the

75 reference. Han’s mother is a very religious woman and Max needed to save some time to solve a problem:

O: “(…) The Chrysler Building! It has the word ’Christ’ in it!” (S03E07)

D:“(…) budova Chryslerů, mají ve znaku křídla!”

S: “(…) Chrysler Building. Má v sobě slovo „Christ“!“

The example above also represents an example of PUN=PUN, in which case the pun is simply copied from SL to TL without translation. In this case, the rendering was smooth as Christ is an international word and thus is easily comprehensible. However, it is not always the case:

O: “She’s purr-fect.” (S03E03)

D: “Je purrfektní.”

This rendering might be complicated for the viewer, because the onomatopoeic sound is different in Czech. In this case, it would be advisable to base the wordplay on

Czech sound – e.g. using colloquial adjective suffix: “Je mňaukózní.”

To sum up, subtitles preserved 69 per cent) and dubbing almost 54 per cent of the original wordplay. If the compensatory strategies and occurrences of humorous non-puns are taken into account, both subtitles and dubbing managed to preserve 88.5 per cent of humorous load.

6.1.2. Lexical structure – polysemy

Puns based on polysemy were expected to pose difficulties in rendering. The reason is the improbability that the same words carrying the same multiple meanings (and connotations) would occur in two distinct languages. Altogether, ten examples of polysemy were analysed in the corpus.

Subtitles 6 4

PUN-PUN PUN - NON-PUN

Dubbing 6 4

0% 20% 40% 60% 80% 100%

Figure 2: Preserving of the pun based on polysemy

Both subtitles and dubbing managed to render 60 per cent of the original wordplay.

An interesting fact is that the same examples posed problems on rendering – punning was not preserved in the same four examples in subtitles and dubbing (four cases of PUN –

NON-PUN rendering). Two of them were based on multiple meanings of verb come. In both cases, only one meaning was preserved, and the humour was lost both in subtitles and dubbing (omission). Only three non-pun renderings managed to preserve humour – one occurrence in dubbing and two in subtitles. If a loss of a pun occurs, the most important thing that the translators ought to keep in mind is to retain the fluency and naturalness in the rendering.

In both translations, six puns were preserved – in subtitles, four puns were rendered as same or similar puns; dubbing preserved two. In other cases, the translators managed to preserve the pun, but in order to do so, the image had to be changed. Change of image occurred four times in dubbing and twice in subtitles. An example of successful and creative rendering can be this:

“(…) I’ve got this hip thing, meaning I’m too hip.” (S02E23)

“(…) mám problem s rukama. Jdou mi moc dozadu.”

“(…) nemám na to plíce, nebo žaludek.”

A crafty strategy in rendering puns can also be use of hyponyms. Despite the fact that the wordplay is based on a different relationship between words, the use of hyponym

(dřevo-kláda) is a fair compensatory strategy.

D: “(…) get the wood for the barn. M: Okay, but there seems to be plenty of wood right

here.” (S02E07)

S: “(…) a přivézt dřevo na stáj. M: Ale nějakou kládu už tu vidím.

To sum up, humorous elements were preserved in eight renderings in subtitles (80%) and dubbing preserved 90 per cent of humorous load.

6.1.3. Lexical structure – idioms

Seventeen puns based on exploitation of idioms were analysed. Subtitles preserved

59 per cent of puns, dubbing preserved 53 per cent of the puns. This suggests that preserving idioms in rendering is rather complicated. One of the main reasons for that could be the fact that idioms are established differently in various languages (using different words), and moreover, they are based on figurative meaning of the word and phrases. Rendering whole phrases with figurative meaning is thus more complicated than rendering words or non- figurative phrases.

10 7 Subtitles

PUN - PUN PUN - NON-PUN

9 8 Dubbing

0% 20% 40% 60% 80% 100%

Figure 3: Preserving of idiomatic structures

The complexity of the rendering can be illustrated on this example:

O: “I am little in the weeds right now.” (S02E04)

S: “Nestíhám, je to v čoudu.”

D: “Jsem zrovna troche otrávenej.”

There are several reasons, why this utterance posed a translation crisis for dubbing.

First of all, to be in the weeds suggests that someone is overwhelmed with work and falls behind. The secondary meaning is that Oleg was actually stoned and that was the reason, why he was not coping. Third layer that prohibits change of image is existence of visual layer. This utterance thus proved to be loaded with meanings. Dubbing did not render any of the meanings and the translation turned out to be blank. Subtitles preserved all meanings of the utterance. An alternative solution could be used: “Asi tu máme problem.” It seems that the meanings disappeared in this vague commentary, however, in the context it has all the necessary meanings – one problem is that Oleg did not cook anything, another is that he is high and actually unable to cook.

Subtitles managed to compensate for lost puns and six humorous non-puns were created. Dubbing encountered with various troubles and preserved the humour only in three non-puns. Subtitles had to change the image only three times, dubbing used change of image five times. Altogether, subtitles successfully preserved humour in 94 per cent of renderings, dubbing managed to preserve only 70.5 per cent.

6.1.4. Morphological structure

Morphological puns were based on acronyms, blending, and an invention of new words or exploiting structures of words. Altogether, 21 examples of puns based on morphological structure were analysed. Subtitles managed to preserve 14 of the original wordplays, changing the image three times (66.6%). Dubbing preserved the 16 puns, in five cases change of image occurred (79%).

14 1 1 3 1 1 Subtitles PUN-PUN PUN=PUN PUN=PUN+EDT PUN - NON-PUN EDT

16 2 2 1 RRD Dubbing

0% 20% 40% 60% 80% 100%

Figure 4: Preserving of puns based on morphological structure

Several wordplays were based on blends and were mostly preserved. However, one loss of pun occurs in subtitles, which was probably not caused by translator’s inability to

80 find adequate rendering. When Oleg pronounces chin-cheetah, the speech is quite fast and even muddled or possibly a typo in the script or a miscomprehension of spoken word could have occurred. Nonetheless, rendering in dubbing was more than successful:

“(…) I get to wear my chin-cheetah hat.” (S03E13)

“(…) Aspoň otestuju svůj čín-čilový klobouk.”

“(…) Nasadím papachu ze sněžného pardála.”

Dubbing used a non-standard name for leopard to name Oleg’s made up animal and also employed a cultural reference to hat called papacha, which is typical of Oleg’s country of origin. Among other very successful translations belong rendering of “broommate”

(S03E09) as “kámop”, which is a blend that is very similar to original, both in meaning and form. All these translation required vast amount of creativity.

Direct copy of puns (PUN=PUN) occurred twice in dubbing and twice in subtitles.

This strategy is more demanding for the viewers, especially those with limited knowledge of the language, as they need to translate themselves and thus it is up to them if they understand the joke or not. Subtitles once used an editorial technique to explain the meaning in parentheses:“(…) čtu jeho horse-oscope (koňský horoskop).” (S01E04) This strategy is useful but it ought not to be used to frequently, as it would make the subtitles unnecessarily long.

Altogether, rendering wordplays based on morphological structure was very successful. Humorous load was preserved in 95 per cent of the renderings.

6.1.5. Further wordplay occurrences

These wordplays were not possible to classify according to Delabastita’s categories for various reasons, however their renderings were interesting, so it would be a pity to omit them. Five examples were analysed, most of them played with ambiguous meanings.

4 1 Subtitles

PUN - PUN PUN-PUN+EDT RRD

4 1 Dubbing

0% 20% 40% 60% 80% 100%

Figure 5: Rendering of wordplay with ambiguous meaning

Rendering of these wordplays was very successful. Once again, an explanatory footnote helped to preserve wordplay because the subtitler was able to provide the viewers with an explanation before watching. In this case, dubbing compensated for the loss of pun with rhyme. 100 per cent of humorous load was preserved both in dubbing and subtitles.

6.1.6 Rendering wordplay

In previous chapters, it was suggested that wordplay can pose many problems in rendering and some instances of wordplay were thought to be untranslatable. For the genre of situational comedy, the number one priority in rendering is preserving as much of the humorous load as possible. It is thus not always required to render the exact and same meaning of utterances, though it would be the preferable solution.

Seventy-nine examples of wordplay were analysed in previous chapters. The analysis was aimed on preservation of puns and strategies used to compensate for their loss.

Altogether, five categories were distinguished that focused on how the pun was preserved.

Within these categories, further strategies were differentiated.

The first category was preservation of the pun which was tagged in the corpus as

PUN – PUN. Subtitles managed to preserve 52 instances of wordplay (which translates to

66%) and dubbing preserved 49 instances of wordplay (62%). Two strategies of the pun preservation were distinguished within this category. Either the translator directly copied the pun from SL to TL, preserving both meaning and form in TL or rendered it in a very similar manner (tagged as same/similar in the corpus). In case this was not possible, the other option was to create a new pun that could be completely different from the original in meaning and form (this was tagged as changed). Both dubbing and subtitles inclined more to direct copy

(subtitles with 38 examples and dubbing with 30 examples). This implies that the image had to be changed quite often in dubbing – 19 times compared to 14 in subtitles. One of the reasons could be that the viewers in dubbing are not able to compare the original with the translation and thus the change of pun is not disruptive.

Occasionally, a direct copy of the pun without actual translation would occur both in subtitles and dubbing (tagged as PUN=PUN). In these cases, the pun was preserved, but it is up to viewer’s ability in the foreign language or universality of the pun, if it will be comprehensible. Three occurrences of PUN=PUN appeared in both subtitles and dubbing.

Subtitles also took advantage of the possibility of editorial techniques – it either provided the viewer with extra information prior to watching the episode, or in three cases the explanatory note was in parentheses. Dubbing used this strategy once. Another strategy is to involve rhetorical devices to compensate for the loss of pun. Five instances of the compensation appeared in translation – one in subtitles and four in dubbing. In all cases, the pun was replaced by rhyme.

In case it was not possible to preserve the pun or compensate for it somehow, the corpus was tagged as PUN – NON-PUN. Twenty puns were lost in translation of subtitles and 22 were lost in dubbing. However, it is important to note that the loss of pun does not

83 necessarily mean the loss of humorous load as well – instances that lost the punning effect but preserved the humour appeared quite often. Thirteen non-puns preserved humour both in subtitles and dubbing. To sum up, the analysis showed that nine per cent of puns were lost in translation of subtitles and eleven per cent were lost in dubbing.

Figure 6 typifies an overview of strategies used in subtitles and Figure 7offers the same for dubbing.

Occurrence in subtitles 1 3 4

EDT RRD PUN=PUN

PUN - NON-PUN (humorous) PUN - NON-PUN (omission) PUN - PUN (change)

PUN - PUN (same/similar)

Figure 6: Occurrence in subtitles

Occurrence in dubbing

4 3 1

30 13

EDT RRD PUN=PUN

PUN - NON-PUN (humorous) PUN - NON-PUN (omission) PUN - PUN (change)

PUN - PUN (same/similar)

Figure 7: Occurrence in dubbing

The analysis showed that both subtitles and dubbing are capable of either rendering or compensating for vast amount of the puns, since the total loss of humour was very low

(around 10%). The most widely used strategy, used both in subtitles and dubbing, was direct copy or change of the pun – it can be thus said, that the translators did a great job in rendering wordplay of different kinds. If it was not possible to preserve the wordplay, the attempt was to preserve humorous effect, which turned out to be successful as well.

6.2. Cultural references

Altogether, 51 examples of cultural references were analysed. These references were of various types – names of various celebrities or famous people from wide spectrum of

American society (e.g. Chris Brown, Chaz Bono, Chris Christie or Rachel Ray), food products (bagels, fruitcake, Pixie Sticks) or shops (Walmart, Target, 7/11). The translations

85 of these references were classified according to two strategies – either foreignization or domestication, which are further subdivided.

FOREIGNIZATION (FOR) DOMESTICATION (DOM) Retention (RET) 16 Generalisation (GEN) 16 Specification (SPF) 2 Substitution with different international 5 item (S-DI) Direct translation (DT) 0 Substitution with different source culture 0 item (S-DS) Substitution with target language item 4 (S-TL) TOTAL 18 TOTAL 25 Not classified: Official equivalent (OE) 4 Omission (OM) 4

Table 1: Frequency of occurrence in subtitles

FOREIGNIZATION (FOR) DOMESTICATION (DOM) Retention (RET) 14 Generalisation (GEN) 17 Specification (SPF) 0 Substitution with different international 3 item (S-DI) Direct translation (DT) 4 Substitution with different source culture 1 item (S-DS) Substitution with target language item 4 (S-TL) TOTAL 19 TOTAL 24 Not classified: Official equivalent (OE) 3 Omission (OM) 5 Table 2: Frequency of occurrence in dubbing

Table 1 and Table 2 summarize all occurrences of domestication and foreignization.

The tables show that the strategies used in subtitles and dubbing were similar and more inclined towards domestication. However, this result does not necessarily mean that the source culture is mostly diminished in rendering. Domestication does not imply that only items from target culture can be used. The whole set of background knowledge needs to be activated, involving both domestic and foreign knowledge, to be able to understand (and render) the references.

Domestication strategy includes substitution for an international item or different item from source culture. On one hand, these strategies bring the text closer to target culture, but on the other hand, the foreign references are not lost, but changed. A simple example of this change can be illustrated by reference to Kendall Jenner: Kendall Jenner is applying to college? (S03E12). Dubbing exchanged the reference to Kendall Jenner with Britney Spears

(the translator assessed similarity in qualities of the two mentioned ladies in order to preserve the humorous meaning of the utterance). Despite the fact that this rendering is marked as domestication it preserves the reference to foreign, but chooses to use different background knowledge to preserve the allusion.

In both cases several examples of substitution with target language item were found

(four in subtitles, five in dubbing). This is particularly interesting, because the presence of domestic features in foreign texts can be found disruptive and sound unnatural. However, close analysis of these renderings showed that despite the fact that these features are specific for TL culture, they are neutral enough not to cause any problems.

This can be illustrated on an example where the girls discuss if the Santa will be able to find them. “We’ll be the two evicted girls eating fruitcake out of a dumpster.” (S02E12)

It is not necessarily a general knowledge that a fruitcake is an American Christmas treat.

Nevertheless, substituting the fruitcake with a specific item such as vánočka is not problematic because it does not clash with previously mentioned Santa or concept of

Christmas.

Generalisation is the most occurring strategy used in both subtitles in dubbing. The main reason for that is probably preservation of humour. However, when the cases of generalisation are closely analysed, they do not have to be necessarily perceived as a deprivation. An example of excellent use of generalisation can be found in subtitles:

O: “(…) I can't afford to buy a new one so I'm going all Breaking Bad. // C: Breaking bad? We are more like broke and sad.” (S02E05)

S: “(…) tohle jsem viděla v televizi. // C: V televizi? To jen nějaký tele mělo vizi.

D: “(...) na novou nemám tak dopadnu jako Perníkovej táta. // C: Perníkovej táta? Jsme spíš jako dvě socky.

Despite the fact that the reference to the TV show is lost in subtitles, forming a new wordplay is an excellent “side-effect”. Dubbing also used creativity in rendering, preserving the reference to Breaking Bad and adding an extra reference to Czech name of the TV series

– Dvě socky.

Retention was the most frequent foreignization strategy. Cultural references were simply preserved without any further specification. Some of the cultural references were already internationally well-known and therefore there was no need to modify them. In subtitles, several cases were supported by translator’s commentary and other simply relied on the fact, that the reference would be comprehensible from the context.

Specification is a strategy which is more typical of subtitles than dubbing. It is quite difficult to add extra words to dubbing due to lip-sync restrictions but it is possible to add a word or two into subtitles, if the dialogue is not too dense. The analysis supports this claim

– there is no occurrence of specification in dubbing, subtitles used this strategy twice. This can be illustrated on this example: “I have been hit by a bullet twice – once at 7/11 (…)”

(S02E22) which is rendered as “(…) Jednou ve fastfoodu 7/11.” The viewers thus obtained extra information, which made the reference more comprehensible.

Dubbing used direct translation four times, there was no occurrence of direct translation in subtitles. The problem with direct translation is that it does not try to preserve both form and meaning of the utterance; it is basically a word-for-word translation. This fact caused some incorrect and inaccurate translations. For example, rendering chocolate chips

88 into čokoládové čipsy (S02E10) is incorrect, because the equivalent to chocolate chips is

čokoládové kousky or pecky. The other possible solution is to work with chocolate only

(“Cítím čokoládu?”). This strategy was used by subtitles and managed to render the meaning perfectly. Another example is “(…) being locked up or looking like you work at a banana republic.” (S02E01). Dubbing rendered banana republic directly leaving the viewer with a different connotation.

One of the great perks of amateur subtitles is the possibility to support the rendering with an additional explanation. The subtitler translating 2 Broke Girls used this strategy quite often – in case something could cause misunderstanding or loss of joke, he wrote a simple introduction that anyone could read before they downloaded the subtitles.4 Nine cultural references included in the analysis were mentioned in translator’s commentary.

To sum up, both dubbing and subtitles inclined more to domestication strategy than foreignization, however, the occurrence of the strategies was quite balanced (official equivalent was added to foreignization strategy because it can be perceived as a subcategory of retention – it was separated because the translator did not need to translate it but they already had a prefabricated solution). In dubbing, 47 per cent of cultural references were domesticated and 43 per cent were foreignized. Ten percent of the references were omitted.

Subtitles used domestication on 49 per cent of the references and 43 per cent remained foreign. Eight percent of the references were omitted.

4 This approach was praised on multiple occasions by people downloading the subtitles, appreciating an insight into American culture.

Occurrence in subtitles Occurrence in dubbing

8% 10% 8% 6% 35% 37%

49% 47%

Foreignization (18) Domestication (25) Foreignization (19) Domestication (24) Official equivalent (4) Omission (4) Official equivalent (3) Omission (5)

Figure 8: Occurrence in subtitles Figure 9: Occurrence in dubbing

6.3. Expressions without Czech translation

Another issue the translators needed to tackle were expressions which are not yet coined in Czech language. Most of these expressions could be labelled as neologisms, as they are mostly products of the modern society. Examples of these expressions are: walk of shame, booty call, bucket list or an intervention. For the lack of Czech equivalent, translators usually opted for description or rendering, which denoted at least one part of the whole meaning.

Once again, perk of explanatory notes was employed in subtitles. Bucket list (S02E06) was thus preserved in subtitles as the viewers were already familiarized with its meaning prior to watching the episode. The Internet is divided on what the translation should be – bačkorový seznam was offered several times (which is derived from expression dřív, než natáhnu bačkory), however many people were against it. Dubbing used rendering which has

90 a very close meaning to what bucket list is, though it is not accurate – můj tajný sen.

Nevertheless, this translation fits into overall context thus is acceptable.

Another interesting neologism is the word cougar (S02E07). In both cases, it was rendered as rašple, which is not an accurate translation. Dubbing complements the word with adjective udržovaná in order to reduce the derogative sense of the word, but it is not sufficient. A calque puma could be used instead – this word has more positive connotations and it directly refers to the original. Another possibility could be abbreviation MILF (or milfka) which was established in movie American Pie and captures the basic meaning.

A booty call is another example of expression without a Czech equivalent – it refers to a late-night call in order to have sexual encounter. Both renderings – bohyně příležitostního sexu and bohyně nadrženejch volání (S02E21) – managed to grasp the meaning, describing the purpose of the call.

In a way, it can be said that all these expression are sort of a cultural reference – however, they do not refer to specific culture (of a specific country), but to the (language) culture of a generation. With increasing globalisation, access to the Internet and growing knowledge of English worldwide, many of these expressions may not need a Czech equivalent and over time, they may simply enter the vocabulary with minor changes as the people will be familiar with them.

To sum up the translations, both subtitles and dubbing tried to render the word in order to bring its meaning as close to the viewer as possible, which turned out to be successful in all instances.

6.4. Accents and use of non-standard English

Accent is quite widely used in original version because several characters are of foreign origin – Oleg is originally from Ukraine, Sophie from Poland and Han from South Korea.

Their accents are thus recognizably different from Max’s and Caroline’s American English.

It can be stated that accents support the humorous effect of jokes (e.g. the distinct pronunciation underlines the jokes). Use of non-standard English is quite frequent as well - especially slang words (e.g. yup instead of yes).

As was mentioned before, one of the biggest disadvantages of subtitles is that they are not capable of preserving and presenting prosodic features of speech. One of the possible means how the accent could be differentiated in subtitles is use of specific vocabulary or occasional phonological transcriptions of words. However, this is not the case and all accents are omitted in subtitles. However, slang was quite nicely preserved both in vocabulary (chlebárna, být piclá) and in grammatical structures (e.g. using colloquial suffix

–nej instead of grammatically correct suffix –ný – pěkný/pěknej).

In dubbing, the only accent that was distinctively preserved was Oleg’s. As Czech language belongs to the same language family (Slavic), it was not complicated to employ a Russian accent. Oleg’s utterances often used stress in different position than it would occur in Czech (in Czech it would usually be on first syllable, but can be variable in Russian), prolonging or changing vowels so that the words resembled Russian pronunciation or soft pronunciation of consonants (e.g ňevim,ňemaj or ťibja). Occasionally, words marked with

Russian pronunciation such as ňiet or kďe were used. Slang is treated in the same way as in subtitles – use of slang words or grammatically incorrect structures. The reason why remaining accents were eliminated are unknown. One of the possible reasons could be that multiple accents might eventually be perceived as disruptive or forced.

7. Conclusion

The thesis is divided into several chapters – at first, concept of humour is introduced as a base for situational comedy and then the genre is shortly examined. To provide a solid base for the analysis, concept of wordplay and strategies in rendering wordplay were introduced. These strategies and categories are later used in partition and tagging of the corpus. Cultural references are addressed, dealing with concepts of foreignization and domestication, and specifics of audiovisual translation, focusing on dubbing and subtitles, are discussed.

The corpus is divided into several tables, dealing with the concepts introduced in the theoretical part – first, instances of wordplay were categorised and analysed. The main focus was on how puns were preserved and what strategies were used in rendering of these puns.

Second part of the corpora investigated rendering of culturally bound references following the notion of domestication and foreignization. Last part deals with further peculiarities of rendering such as neologisms or use of non-standard English. The results of the analysis are further discussed in a separate chapter.

The study shows that the strategies employed in rendering wordplay do not differ in great measure in dubbing and subtitles. However, when preserving puns, dubbing allows for more changes of image than subtitles. A possible explanation for that is the absence of original text and thus the change is not evident for the viewer. Despite the fact that a significant loss of puns occurred (more than 35 per cent of puns were lost in translation in both dubbing and subtitles), the analysis manifested that both subtitles and dubbing have the capacity to compensate for lost puns and manage to preserve humorous load – overall, only

10 per cent of the humour was lost in translation. This challenges the notion of untranslatability – it is obvious that not all wordplays can be rendered on one-to-one basis

93 from source to target language but the puns are generally translatable, though can often change their form.

The study pointed out an interesting fact that the explanatory comments provided by the subtitler did not prevent from domestication of cultural references. Despite the fact that their informative and educational benefit cannot be denied, they are not the decisive factor in domesticating or foreignizing cultural references. However, they might have led to better understanding of target culture and better comprehensibility of jokes. The educational aspect of subtitler’s commentary could be an interesting topic for future research.

Audiovisual translation is a specific kind of translation due to the technical restrictions that are posed on the text in rendering. This is, as indicated in theory, mostly visible in preserving prosodic features of speech. Accents in general were omitted from subtitles without any compensation, dubbing preserved the accents selectively. However, both of them successfully tackled use of non-standard English, such as slang or non-standard se of grammar. These instances are easily recognized in the corpus.

The main aim of the situational comedy is to entertain the audience. Thus, the most important task for the translator is to preserve as much of the humorous load as possible.

After the analysis, it can be summed up that rendering in sitcom 2 Broke Girls more than satisfactory. The translators successfully tackled the obstacles and difficulties in rendering and presented many creative solutions to complex language problems.

Audiovisual translation was for quite a long time perceived as more of a problem of synchronisation than actual translation. However, the numerous examples of linguistic play on language that needed to be tackled in translation and broad scope of necessary background information proved that audiovisual translation is as complex as literary translation and thus is a valid subject of academic study.

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