2005. Perspectives: Studies in Translatology. Volume 13: 4
source text and the title of the dubbed (Castilian) Spanish version):
• Bart vs. Thanksgiving
Bart en el Día de Acción de Gracias• Cape Fear
El Cabo del Miedo• Treehouse of Horror VII
Especial Halloween VII • Beyond Blunderdome
Más allá de la Cúpula del Fracaso
In the four source versions, I identiﬁed a total of 365 examples of humour.These were analysed as a whole, while 63 of them were singled out for speciﬁcstudy.
This study is primarily encompassed within the communicative-sociocultur-al approach of Translation Studies. The framework of the study is based on de-scriptive, manipulation-school, functionalist, and relevance theories, since, ac-cording to my own concept of ‘translation’, it is not possible to conduct a studylike this by limiting it to a single approach. There is, in addition, some inﬂuencefrom Cultural Studies (as culture is a key element) and Pragmatics (which wasused in the analysis).
A taxonomy of humorous elements
My study elaborates the taxonomy of jokes formulated by Patrick Zabalbeas-coa (1993 and 1996).
taxonomy came to consist of 8 levels and wasused for analysing the audiovisual jokes in the chosen sample. Below, I provide(in bold) one illustrative example of each element - all from the episode ‘
Tree-house of Horror VII
refer to cultural or intertextual fea-tures that are rooted and tied to a speciﬁc culture.
Example: [Situation] Homer has been abducted by aliens. He witnesses howtwo aliens adopt the appearance of two well-known American politicians (Rob-ert Dole and Bill Clinton).
[screaming in terror]
...Oh my God!
These types of elements can include, like here, politicians (Dole, Clinton,and LaRouche), celebrities,
an organisations, a newspapers, books, ﬁlms,etc. The reference can be explicit or implicit and acoustic as well as visual.Elements in this category present or evoke the image of some speciﬁc ref-erent in the culture.2.
, the topics of which appear to bemore popular in certain communities than in others, an idea that does notimply any cultural speciﬁcity, but rather a preference. Hence, they are nottied to speciﬁc cultural elements, but to “the deposit of knowledge, expe-rience, beliefs, values, … acquired by a group of people in the course ofgenerations through individual and group striving” (Samovar and Porter1997: 12-13); in short, to
in its broadest sense. Again, the referencecan be explicit or implicit, acoustic or visual.