ntal world 29
4.3.1.3 Adaptation to characters’personality traits 30
4.3.1.4 The adaptation to social taboo 32
4.3.1 Structural Adaptation in Humor Translation in Subtitling 32
4.3.2.1 Adaptation at phonological level 33
4.3.2.2 Adaptation at lexical level 34
4.3.2.3 Adaptation at syntactic level 35
4.3.2.4 Adaptation to characters’language style and rhetoric device 36
5 CONCLUSION 38
REFERENCES 39
1 Introduction
1.1 Research background
Plenty has been said about humor by scholars of the world in various fields. Traditional humor study focuses on the written or the verbally expressed humor but little attention has been given to humor on the screen, which is characterized by a multi-semiotic constitution. Presently there is an undeniable trend to find humor no longer confined to literature or simple, daily conversation, but it is more frequently seen in the audiovisual media. Audiovisual humor differs from traditional humor in many ways, for instance, in its set-up and the way it communicates with the audience. Likewise, due to the restraints imposed by the subtitling process, translating humor in movies and TV shows is more complicated and has a more diverse set of challenges than translating humor from written texts. Its aim and scope, as well as the feasible strategies in the trans-cultural communication are worth more attention and further exploration.
Now information exchange is speeding up every day with the development of internet. We are facing an era in which large amounts of resources from different areas flood in every day. People have access to resources of any field they are interested in, they can share the latest information and enjoy the same TV show with people on the other side of the world. What we need to think about is how to make this fantastic information sharing era benefit more people? Language convening or translation should first come into our mind. Without translators’ agile and effective work, people from different countries could not enjoy this information-flood-in era. This era brought us countless magnificent foreign audiovisual products, which entertain us in our spare time and also give us a sight to foreign people’s life and their culture. Watching foreign TV shows now become quite normal and popular in Chinese people’s daily life.
People from all walks of life and all age groups like watching western audiovisual products. Every year a great number of foreign audiovisual products are created. Though the movie and TV market is booming, the audiovisual translation development still remains in preliminary state. There is an apparent inconsistency between the significance of audiovisual translation and its current research state. This situation could be explained from following aspects: firstly, the history is short. Unlike literature works which enjoy thousands of years’ history, movies and TVs have only appeared since last century. So it is explainable that this field is still not
