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2021 108 Noelia Marqués Cobeta The translation of humour in the american sitcom modern family Director/es Hornero Corisco, Ana María González Vera, María Pilar © Universidad de Zaragoza Servicio de Publicaciones ISSN 2254-7606 Noelia Marqués Cobeta THE TRANSLATION OF HUMOUR IN THE AMERICAN SITCOM MODERN FAMILY Director/es Hornero Corisco, Ana María González Vera, María Pilar Tesis Doctoral Autor 2021 UNIVERSIDAD DE ZARAGOZA Escuela de Doctorado Programa de Doctorado en Estudios Ingleses Repositorio de la Universidad de Zaragoza – Zaguan http://zaguan.unizar.es The translation of Humour in the American sitcom Modern Family PhD Thesis Noelia Marqués Cobeta Supervisors: Dr Ana María Hornero Corisco Dr Pilar González Vera The translation of Humour in the American sitcom Modern Family A PhD thesis by Noelia Marqués Cobeta supervised by Ana María Hornero Corisco Pilar González Vera FACULTY OF ARTS 2020 i Acknowledgments Firstly, I would like to express my sincere gratitude to my supervisors Dr Ana María Hornero Corisco and Dr Pilar González Vera for their continuous support to my PhD study and related research, as well as for their patience, encouragement, and immense knowledge. Their guidance has helped me throughout all the time devoted to the research and writing this thesis. I could not have imagined having better advisors and mentors for my PhD study. My sincere thanks also go to Branwen Val for her support. Last but not the least, I would like to thank my family: my father and my sister, for supporting me spiritually during the writing of this thesis and in my life, in general. In particular, I am grateful to my husband and partner in life for his backing over all these years. ii CONTENTS Acknowledgments i List of acronyms v List of symbols vi List of tables vi List of figures vii 1. INTRODUCTION 1 2. AUDIOVISUAL TRANSLATION 12 2.1 Definition 12 2.2 The audiovisual market in the United States and Spain 25 2.3 Dubbing 28 2.3.1 Priorities and restrictions in the dubbing process 32 2.3.2 Synchrony 34 2.4 Subtitling 38 2.4.1 Priorities and restrictions in the subtitling process 43 2.4.2 Synchrony 46 3. HUMOUR 52 3.1 Types of humour 60 iii 3.2 Humour and translation 73 3.2.1 Factors in translating sitcoms 73 3.2.1.1 Priorities and restrictions in the translating process 76 3.2.2 Translating humour 81 3.2.3 Difficulties in translating humour 87 3.2.3.1 Translating jokes 97 4. METHODOLOGY AND CORPUS 101 4.1 Objectives 101 4.2 Methodology 102 4.3 Corpus 106 4.3.1 Sitcoms, an important genre in the United States and in Spain 106 4.3.2 Modern Family 108 5. ANALYSIS 125 5.1 Stereotypes 128 5.1.1 National stereotype 129 5.1.1.1 Gloria Delgado-Pritchett 130 5.1.1.2 Lily Tucker-Pritchett 158 5.1.1.3 Conclusions 161 5.1.2 Homosexual stereotype 164 5.1.2.1 Mitchell Pritchett 165 5.1.2.2 Cameron Tucker 167 3 even beneficial for consumers of any kind of audiovisual products. Indeed, the more specific the studies in this field of knowledge, the more precise the translated texts will be, as translators will be better prepared and trained to develop their jobs. Aims of the study The main aims of this study can be summarised in a few points:  Research and review existing literature on audiovisual translation, as well as the concept of humour and its implications in the translation of audiovisual texts.  Study the specific area of linguistic humour, the cornerstone on which the research will be based.  Define the concept of stereotype and consider it as a source of humour.  Identify the different humorous elements involved in the examples taken from the corpus, and compare them with the ones used in the dubbed and subtitled versions.  Present the results of the previous analysis and observe the translation tendency in each case. Throughout the study, only specific scenes that base their humour on different types of stereotypes are selected, in addition to the resources and 4 strategies used to achieve this humour. The linguistic element, as one of the strategies used to create humour, is especially interesting as it will provide the necessary information to analyse the translator's job and compare the solutions given in each specific version. Apart from analysing stereotypes, language is also considered the source of humorous scenes, and provides valuable information for the study. From the beginning, it was decided to base the study on a comparison of the three versions (source, dubbed and subtitled), in addition to the humorous elements involved in each case, with the aim of observing possible tendencies that are preferable to others. The intention, therefore, was not to describe the different translation theories in depth, or to try to extend existing literature on this issue. However, it was essential to review the theory on audiovisual translation that could be of interest for the specific purpose of the study, in order to establish a framework on which to ground the study and its subsequent analysis. Moreover, and although it might be an interesting approach, this study does not focus on humour reception. This idea could be considered as a future project that would complete the present study but, in this case, it was deemed preferable to focus on the final texts and the solutions given in each case. 5 Hypothesis As stated above, the aim of this study is to deal mainly with humour, and the different repercussions this has on a text, due to its intrinsic cultural roots. Discussing whether the translation of humour is a feasible task is avoided, since this is understood to have been proven, thanks to the popularity of humorous audiovisual products imported into our country, which, indeed, is a fact and a reality in our daily media consumption. It is not strange that, nowadays, due to the fast moving world we live in, series, understood as a set of regular programmes that tell a story about certain characters and that last for a relatively short period of time, have reached a high level of popularity. Besides, people usually want to be entertained and enjoy their free time. For this reason, situation comedies – series whose main feature is humour– have become an important option when it comes to choosing an entertainment option. After justifying the field of study and its interest, the procedure chosen was to analyse the humorous scenes of the selected corpus in order to compare the tendencies that the dubbed version (DV) and the subtitled version (SV) follow in the target language (TL), and how similar or different they are to the source text (ST), as it was originally conceived. At a more specific level, the eclectic nature of the different characters that appear in the corpus enables us to study humour from another perspective. We base our research on the idea that humour can be created through stereotypes, which are inextricably linked to the culture of 6 a country, but also share certain universal common traits. In this sense, the general points raised in this study are, if:  The translation of humour through diverse stereotypes is related to each of the characters of the corpus. Each character has particular traits which make them special and enrich the text. These different characteristics enable us to study humour from several perspectives.  The stereotypes analysed follow a common tendency regarding the use of humorous elements in each version, or if they only depend on the context and the situation where they are developed.  The humorous elements that are used in the ST are the same as the ones that appear both in the DV and SV, in order to maintain the humour load. The analysis will clarify if it is possible to use the same elements or, on the contrary, if it is necessary to adapt them to the translated texts in order to fit in with the cultural reality, and the respective dubbing and subtitling restrictions.  The humour load is transferred to the target texts (TTs), if it is lost during the translation process, or if there is any case in which the translator chooses to create humorous content in either or both of the TTs to compensate for possible losses that may take place. 7  In agreement with the previous point, the elements are more liable to be transmitted, to be lost, or to be created.  There are some translation tendencies in audiovisual texts and, specifically, in this corpus. This has been an arduous task, although it is only a starting point for the development of further studies on the translation of humour. Structure This study has been divided into six chapters. First, it was necessary to review some of the theory on which the study was going to be grounded. Thus, we were able to establish a framework in which to include it, and a starting point from where to confirm, after the analysis, whether the translator’s decisions follow the different precepts mentioned by scholars who have studied the area of specialisation of audiovisual translation, and this specific genre, or whether, on the contrary, s/he has made his/her own decisions, and has tried to find other solutions that match the TT better, and meet the target conventions. The study includes the following sections:  Chapter 1, Introduction: the reasons that have motivated the study of this doctoral thesis are explained. Information about the results expected to be obtained, after finishing the 8 research, is included, and the hypotheses are presented. The structure of the dissertation is also discussed, as well as the methodology followed in order to develop the study, briefly introducing the corpus that will be analysed.  Chapter 2, Audiovisual translation: the literature in this field of knowledge is reviewed, and several points of views of different scholars on this theme are considered. Information about the audiovisual market, comparing the two countries in question –the United States and Spain– is included. This chapter ends with an explanation of the most common modes of audiovisual translation, dubbing and subtitling. The priorities and restrictions in terms of the translation process are specified, and one of the main characteristics of these modes, synchrony, is studied in depth.  Chapter 3, Humour: the main point of the study is developed. The concept and the different types of humour are defined, and the relationship between humour and its implication in the translation process is discussed, also highlighting the difficulties entailed.  Chapter 4, Methodology and Corpus: it explains the way in which the main part of our study –the analysis of the corpus– is developed. The three versions –original version (OV), DV and SV– are included in a table where the dialogues can be compared and the humorous elements can be identified and 9 discussed. It concludes with an introduction to the genre of the text, ending with a summary of the corpus and the presentation of its characters.  Chapter 5, Analysis: this is the main section in the thesis. By analysing the corpus, it is possible to discern the different stereotypes included, and through which humour is created. The elements used in each example are commented on, i.e., if they are transmitted, omitted or added, as well as any possible modifications the translator makes in order to maintain the humour load in the DV and SV. This information is also supported by the percentages that corroborate these data.  Chapter 6, Final conclusions: it includes the percentages associated with the information presented in the previous chapter and that show the procedures adopted by the translator in each specific case. It is here where the theoretical information, explained in the first chapters, is related to the results obtained from the analysis of the corpus. The Bibliography section lists, in alphabetical order, the articles, chapters, books, doctoral theses and, in short, any publications considered interesting and relevant for the study and that were consulted during the research process. 10 An Appendix provides a link to a file in Google Drive where the examples analysed in Chapter 5 can be found. Additionally, further examples detected during the viewing process are included in this section, although they do not contain as much relevant humour load as the ones in Chapter 5. These scenes also show the three versions discussed in this study –the English OV, and the Spanish DV and SV–. Methodology and corpus The steps followed to conduct the present study go from a global approach to a specific analysis of the corpus: 1. Reading the relevant publications that discuss the appropriate issues for our study. 2. Selection of the episodes to be analysed and justification of this decision. After this, these episodes were viewed in the OV, as well as in the DV and the SV. 3. Comparison of the three texts in order to see the different humorous elements used in each case, together with an explanation of those options. 4. Analysis and study of the results that arise from the previous comparison, considering whether the elements or the solutions given by the translator are different or not from the ST and, if they are different, the way in which they are 11 modified. 5. Conclusions that summarise the analysis, giving some explanations to justify the findings of the study. As stated above, the corpus analysed in this study is the situation comedy, Modern Family, chosen due to its popularity both in the United States and in Spain. Although this series is broadcasting its 11th and final season, my decision was to analyse the first seasons, as it is in these first moments of the series where the characters are presented and where they develop all their traits. The aim was also to observe the evolution of these characters, and if the stereotypes associated with each one evolve in the same way as the characters do. This is the reason why seasons 1 and 2 –where the audience meet the characters–, are analysed, as well as seasons 5 and 6, in order to see any change in their behaviour or in the way other characters see them. The series portrays the everyday life of an eclectic family comprised of a nuclear, a stepand a same-sex family. The diverse origins and backgrounds of the different members of the family, which define them, enrich the series and provide many features that are interesting for the present study. Furthermore, the idea of portraying the series as a mockumentary –a mock documentary–, where the characters express their feelings and problems directly to the camera, bestows originality. 12 2. AUDIOVISUAL TRANSLATION 2.1 Definition In recent years, audiovisual translation has undergone considerable growth due to the increase in audiovisual products, especially in the cases of cinema and television. Considering that this tendency has continued to grow, more and more literature that studies this area of specialisation can be found, since different scholars have become aware of the importance of researching and specialising in this specific field within Translation Studies. Scholars are now more interested in this field of study, and both audiovisual translation and translators are better recognised, due to the great impact that audiovisual texts have on our society, and the growing number of imported products that are broadcast both in the cinema and on television. This sector has, therefore, become an important and competitive discipline that is worth studying. Translation Studies is the area that focuses on the different types of translations, including audiovisual translation, which is the field developed in this study. According to Martínez Sierra (2004:13), there are some scholars who recognise it as an autonomous and independent discipline with its own identity. As stated above, the current audiovisual consumption trend makes it necessary to study and define this discipline in depth, as well as to 19 communication. This way, concepts such as synchrony are of great importance. 2. The second peculiarity remarks that: la traducción no es realizada tan solo por el traductor sino también por toda una serie de protagonistas, como son los actores, director de doblaje, director de subtitulado, ajustadores, etc., ninguno de los cuales tiene por qué conocer ni bien ni mal la lengua original y muchos de los cuales ni siquiera han visto la obra completa antes de abordar su traducción. (ibid.: 35-36) Many people have access to the original or final text in order to perform adjustments to fulfil the requirements of the target language and culture. 3. The third peculiarity refers to how the audience simultaneously receives the audiovisual product through two channels, the same channel (acoustic channel in the case of voice-over, half-dubbing and simultaneous translation), or different channels (acoustic and visual channels in the case of subtitling). 4. The fourth peculiarity deals with the conventions that translated products have to fulfil in order to be accepted by the audience as an original product. There is a difference between the definition proposed by Agost and Mayoral. Whereas Agost (1999:15) defines audiovisual translation as “una traducción especializada que se ocupa de los textos destinados al sector del cine, la televisión, el vídeo y los productos multimedia”, Mayoral 20 (2001b:34) states that “cuando hablemos de traducción audiovisual hay que hablar de lo que es específico de este tipo de traducción”. The key difference is the adjective used by them, “specialised”, in the case of Agost, and “specific”, in the case of Mayoral. We consider audiovisual translation to be a “specific” type of translation, since we think that not all texts are “specialised”. It will depend on the subject that needs to be translated to determine whether a text is specialised or not. We would like to add the definition proposed by Martínez Sierra (2004:22) about the concept “audiovisual translation”: una modalidad general de traducción que se ocupa de los textos audiovisuales, los cuales se caracterizan porque se transmiten a través de dos canales simultáneos y complementarios (el acústico y el visual) y por presentar una combinación, también simultánea y complementaria, de varios códigos de significación (lingüístico, paralingüístico, visual, etc.) cuyos signos interactúan y construyen el entramado semántico del texto audiovisual. Se trata de una variedad de traducción que presenta una serie de características propias que la definen frente a la traducción escrita y a la interpretación, y que tienen que ver principalmente con los condicionantes (internos y externos) que dicha modalidad presenta y las estrategias que requiere. We agree with this definition of audiovisual translation, since it explains all the characteristics that have already been pointed out: 1. It is a general type of translation, in contrast to the term “specialised”, coined by Agost; we consider the term “specific” to be more appropriate in this case. 2. It translates audiovisual texts, which are characterised by 21 being simultaneously transmitted through two different channels, the acoustic and the visual. 3. It contains different codes, which interact and form the audiovisual texts. 4. It has its own characteristics, which define and distinguish it from other types of translations. 5. It is necessary to study all its features in order to develop strategies that fulfil the needs of the genre. 6. It is preferable for the theory to be based on empirical cases in order to see how the hypothesis is applied to real texts. Zabalbeascoa (2001b:114) goes further and, with the help of a graphic, describes the characteristics of audiovisual texts, which makes it easy to understand how these texts can be classified, and explains the channels and codes involved in the communication. verbal audio visual no verbal Figure 1 22 According to Zabalbeascoa (2001b:114), every audiovisual text stands in a different position along the axes, depending on the percentage of each element included in the text. In this sense: En la intersección central de estos dos ejes (fig. 1) se encontraría un texto audiovisual en el que los elementos del audio y del visual tienen exactamente la misma importancia comunicativa y en el que los signos verbales y no verbales están repartidos en un 50% tanto cualitativa como cuantitativamente. However, this scholar adds that audiovisual texts do not include these elements in the same percentage. These texts will be similar in terms of the elements that comprise them, but different in terms of the proportion of these elements within the text. In other words, translators have to bear in mind the different channels, codes and signs that are part of the audiovisual text and that define it, in order to carry out their work in the best possible way. Not only are the abovementioned elements important when an audiovisual text is translated, but also other possible visual and written paralinguistic elements, which also form part of these types of texts and fulfil a particular purpose or communicative function. In order to visually define and classify these elements, Zabalbeascoa (2001b:119) creates a table that summarises them in a simple way: 23 Elementos paralingüísticos orales y escritos Elementos paralingüísticos: orales - escritos • Entonación, ritmo • Tipo(s) de letra • Velocidad de habla • Tamaño(s) de letra • Tipo de voz • Color(es) de letra y • Volumen de voz fondo • Pausas, anacolutos… • Variedad de formas • Dicción • Disposición del texto • Puntuación Table 1 Although these are important elements, we will discuss and analyse this later when the different characteristics of dubbing and subtitling are studied. Zabalbeascoa (2001b:120) also includes a new concept, which is the idea of “separabilidad”, and he defines it as la observación de que los distintos tipos de signo (verbal y no verbal) dentro de un texto audiovisual tienen formas muy diversas de combinación e interrelación. Admitimos que el texto audiovisual prototípico es el que emplea todos sus signos de tal manera que forman un entramado que es el que da coherencia al texto, y se hace imposible, desde este punto de vista, analizar ningún elemento separado de los demás componentes textuales. Por eso decimos, por ejemplo, que es una temeridad traducir una película (su componente verbal) sin tener acceso a una copia en vídeo. 24 This scholar (2001b:121) explains the existing interrelations between the signs of different channels and codes, and that determine how dependent the different elements are within the text: 1) complementarity, the elements, as they complement each other, are difficult to separate, since one needs the other to complete the idea they are transmitting; 2) redundancy, extra information that supports the main and same idea; 3) contradiction, used to create a comical effect; it appears when two elements transmit different ideas at the same time; 4) incoherence, the main difference with the previous point is that incoherence is used to talk about unfortunate results in the ST or in the translated one; and 5) separability, which explains the possibility, or not, of separating two elements, and analysing whether these may function on their own. The translation of audiovisual texts must be a process in which the translator, in contrast to other types of translations, has to consider not only the words within the text, but also all the visual, acoustic, and paralinguistic elements. These other elements, apart from the words, are crucial when tackling the translation of an audiovisual text. In this sense, visual elements may be more important than words themselves, so it will be the translator's decision to determine whether to carry out a more or less faithful translation of the original. According to this idea, Zabalbeascoa (2001b:122) states that Esto nos lleva a pensar que, a veces, la traducción audiovisual puede llegar a ser más satisfactoria en algunos casos si el traductor / la traductora se «aparta» del componente verbal original e intenta crear elementos verbales en la lengua de llegada complementarios con las imágenes originales; en cualquier caso, el resultante siempre será un nuevo texto por mucho que se mantengan inamovibles los elementos visuales del texto de partida. 25 In some cases, the translator does not have any other possibility than to opt for a translation that is not so faithful to the original text, in order to transmit the main idea, rather than translating the exact words from the ST. It is also possible to compensate some elements to match the text to the images. There are many cases and different ways of compensation, but Zabalbeascoa (2001b:123-124) refers to five of them: verbal (words) by non-verbal (paralinguistic or non-linguistic) or even by omission of redundant verbal elements; non-verbal (paralinguistic or non-linguistic) by verbal (words), when the visual content allows it; visual by acoustic, when a voice-over reads what it is written; acoustic by visual, in order to help the audience to understand the acoustic text, for example including the lyrics of a song; and non-verbal by non-verbal of the same level, which can be at acoustic or visual level, substituting a piece of music with another that the audience may be more familiar with, or manipulating the images to adapt to the TL, if this were possible, which is something that is happening in some of the more recent films. 2.2 The audiovisual market in the United States and Spain The number of imported audiovisual texts from the United States has risen enormously in recent years. The access and use of new audiovisual platforms have created a new way of consuming these products. According to the latest report Series TV de EEUU, published by Barlovento 26 Comunicación (2017), which retrieves data from Kantar Media, 72% of the series broadcast on Spanish television come from the United States of America. This figure is even more noteworthy when we consider the series broadcast on pay-per-view TV, as this percentage rises to 86%. It is interesting to mention Martínez Sierra (2004:58), who justifies the importance of the audiovisual texts within the audiovisual industry: De hecho, nos parece que el medio televisivo es incluso más poderoso que el mundo del cine por el mayor grado de exposición de su público a los distintos programas (incluidas las películas) de procedencia extranjera que se emiten a diario por este medio. Although some years ago these audiovisual texts were only broadcast on TV, the development of new technologies has created new platforms, such as desktop computers, laptops, tablets, smartphones –the latter being the most popular among teenagers– to enjoy them. According to the figures offered by the Comisión Nacional de los Mercados y la Competencia (CNMC) in its 2017 report, the consumption of audiovisual contents differs depending on the age range. This report shows that TV continues to be the audiovisual platform par excellence, as it is chosen by almost every age group. However, this tendency changes when considering the age range from 16 to 24, that is, teenagers and young adults, as they prefer to consume audiovisual materials on their smartphones –37%–, rather than on TV –29%–. Different companies have realised that the tendency is to watch everything on the go, on the bus, on the train, in the car; thus, they are 27 adapting to this trend to widen their target audience, particularly among teenagers and young adults, who are becoming more and more important target spectators. Another interesting piece of information to consider is the use of TV on demand or pay-per-view TV services, as these are the preferred options to watch series episodes –49%– and movies –47%–, according to the abovementioned CNMC report. These services and the change in the way the audience consumes audiovisual contents are leading to an increase in the audiovisual texts offered to their consumers, and therefore, the importance of audiovisual translation is also increasing in the same way. Translating has become a crucial tool, especially for those who consume audiovisual texts, not in their OV, but in their dubbed or subtitled versions (Antonioni and Chiaro, 2009). Nida (1964:177) also explains the importance of this process and its impact on our societies: Some persons regard translating for the cinema as peripheral and not too important. However [...] in interlingual communication, film translating probably surpasses book translation in total impact. Successful motion picture translating is increasingly vital to the cinema industry [...]. After having explained what characterises audiovisual translation, its definition and consumer trends, our next step is to focus on the two most common modes of translation, which will be the focus of this research work: dubbing and subtitling. 28 2.3 Dubbing Dubbing is the most common mode of audiovisual translation in Spain. In this country, every imported series or film which is broadcast on TV, has been dubbed. The series we have chosen for this study follows this tendency, hence the importance of explaining this translation mode, since a large percentage of the audiovisual texts consumed in Spain are imported products –most of them from the United States–, which are broadcast after being dubbed. The aim of the dubbing process is not only to obtain a final product that is broadcast in another country, in another language and that is consumed by a different audience, but to obtain a text that is considered an original by the target consumers, fulfilling the cultural and linguistic demands of the target community, too. Although, during this process, the texts go through many phases: “la traducción, el ajuste o adaptación, la producción, la dirección e interpretación o las mezclas, sin olvidar otras etapas en las que participan agentes como las distribuidoras, las empresas y cadenas de televisión, los asesores lingüísticos, etc.” (Martínez Sierra, 2004:69). In this study, the analysis focuses on the translating phase, comparing the final text broadcast in the United States with the final text broadcast on Spanish television. According to Agost (1999:58), “[l]a técnica del doblaje consiste en sustituir la banda sonora de un texto audiovisual por otra banda sonora”. However, we only consider it as dubbing when the source language (SL) of 35 Recreating a script in a foreign language demands that each visible sign of speech activity must be accounted for, bodily gestures must be justified in conjunction with meaning and emphasis of text, pragmatic appropriateness to context must be retained, connotations must be transposed and dramatic requirements must be respected. In other words, an audiovisual text is considered to be accurate when all the elements involved in the communication –words, pictures and sounds– fit together and create a final product that fulfils the features and requirements of this type of texts. Agost (1999:58) explains the difficulty of dubbing due to the abovementioned words-pictures pair, but also because the translation has to transmit the content of the ST, which makes the translator's job more difficult. In our specific case, the translator has to translate the humorous elements, as well. This scholar (1999:58-59) mentions and distinguishes three types of synchrony, which include all the elements involved in an audiovisual text: 1. Synchrony of content. It focuses on the information the translator has to transmit from the ST to the TT, which should be the same, not in form but in meaning. 2. Visual synchrony. This is the type of synchrony we first think of when we deal with this issue. It consists in matching the actors' movements with the words they are pronouncing. It is a difficult task, since the movements of the different actors, their speech and the moment when they say it should fit together. In 36 order to achieve this, the adapter will have to make any necessary changes to the speech, in order to make it more natural, and for it to be accepted by the target audience (ibid.:65). In another study, Agost, Chaume et al. (1999:184) include three types of visual synchrony to be kept in mind when dubbing an audiovisual text:  Phonetic synchrony. The speech fits together with the lip movement of the person who is talking. The more accurate the adapter's job is, the more natural and accepted the text will be by the target audience. It also depends on the scene, as in a close-up the adjustment must be more precise than in other scenes where the actors are not that close. There is, furthermore, a difference between the cinema and the TV, as in the latter case phonetic synchrony is not as precise as in texts that are taken to the cinema, due to the size of the screen. The smaller the screen is, the easier it is for details to go unnoticed.  Kinetic synchrony. The actors' speech is adjusted to their movements. “[E]l significado de sus gestos y su comportamiento no verbal han de ser coherentes con la propuesta de traducción, que, por tanto, será subsidiaria a la intencionalidad de esos gestos” 37 (ibid.:184). It is important for the translator to know the body language used in each country, in case there are differences that should be taken into account in order not to cause a sense of strangeness among the audience.  Isochrony. “Adecuar, en mayor o menor medida, la traducción a la duración temporal de cada enunciado del actor de pantalla” (ibid.:184). This is the reason why some translations have to be adapted to adjust them to the sentences, pauses, etc. made by the actors on screen. Not all languages use the same number of words to express the same idea, thus this factor is relevant for the quality of the dubbed text. 3. Acoustic synchrony. The dubbing actor's speech fits with the actor's movements and gestures. Within this category, Whitman (1992:39-53) establishes three different types of acoustic synchrony: idiosyncratic vocal type, that is, that the voice the audience hears and the physical appearance or behaviour fit together; paralinguistic and prosodic elements, the different sounds and voice features an actor is able to transmit; cultural variations, accents and dialects, these aspects should be taken into account when translating and dubbing the text as they give some extra information about the film. Whitman also remarks 38 that dialects are the most difficult elements to dub. The importance of synchrony in the dubbing process and for the final text to be accepted is unquestionable, which is why visual synchrony is considered the most relevant type. However, Chaves (2000:142) explains that each country has its own preferences as far as synchrony is concerned. 2.4 Subtitling Although we have already explained that dubbing is the most common and consumed mode of audiovisual translation in Spain, subtitling is another option that is gaining popularity among spectators. Thanks to the new technological devices and audiovisual platforms, the audience has the power to choose how they want to consume audiovisual products. Some years ago, subtitling was a translation mode that was relegated to a few and specific cinemas showing auteur films. It was also used at certain times when it was necessary to include the information of some messages that appeared in the OV, or the lyrics of a song that could be heard. This tendency has changed over the years thanks to the commercialisation of DVDs and, years later, with the different platforms where the audience can choose the way in which they see the text –original version, dubbed version, original version with multi-language subtitles, among other options–. 39 Mayoral (1993:50) defines subtitling as “la sobreimpresión o sobreproyección en la película de un texto escrito que traduce lo que se oye en la pantalla en la lengua original. La duración de los subtítulos se hace coincidir con la de sus correspondientes palabras pronunciadas”. In other words, the audience, who chooses to watch an audiovisual text with subtitles, listens to the original soundtrack –words, noise and music– and reads what the actors say –this can be in the original language or in any translated language– at the bottom of the screen. This fact raises the confrontation between defenders and detractors of dubbing and subtitling. There are some critical voices that defend subtitling over dubbing and they justify this option:  The original soundtrack is not covered, so the original and real voices and performances of actors and actresses can be enjoyed.  Defenders of subtitling claim that the option of subtitling keeps the essence with which the text was conceived.  Spectators can improve, practice or even learn the language in which the audiovisual text has been filmed. On the other hand, other people think that the text, which appears on screen, is annoying, as they have to read to be able to understand what is happening and it therefore distracts the audience from the other pictures and from the performance of actors and actresses. These voices claim that when they 40 watch an audiovisual product, they expect to be entertained and have a relaxing time, which is not the case if they have to read along. In this study, we are not discussing which option is preferable or more convenient for the audience, as we understand that this will depend on the spectators and their audiovisual preferences. We agree with some authors who state that, “no hay razones sólidas para preferir una u otra manifestación” (Chaume, 2000a:56), since it depends on many variables. Martínez Sierra (2009a:180-181) also adds that, “[e]s más, podemos entenderlas como dos prácticas que pueden perfectamente convivir y atender a mercados distintos de modo complementario”. We agree with this statement, since each translation mode can cover a specific market and satisfy the necessities and preferences of a wide range of audiences at each particular moment. The scholar Marleau (1982:273) describes this mode of linguistic transposition as: Le mot “sous-titrage” désigne dans un film parlant étranger presenté en version originale, la traduction condensée du dialogue projetée au bas des images. [...] La traduction s'effectue au moyen d'une brève apparition à l'écran d'une inscription lumineuse rédigée dans la langue réceptrice. Other scholars like Gambier and Soumela (1994) state that subtitling is a linguistic and cultural transfer that takes place at two levels at the same time: on the one hand, there is a change from the oral to the written code; and on the other hand, there is a change in the language which appears on screen, from a SL to a TL. These two levels are aspects any audiovisual 41 translator has to bear in mind, together with the priorities and restrictions inherent to this audiovisual translation mode. When we think of an audiovisual text, there are several codes involved in communication that should be kept in mind. We assume that most of this information is transmitted through the images –what the audience sees on screen–, and together with the music, noise, etc., this could be enough information to transmit a message. Therefore, words should reinforce the images and not impede the communication. This is an important feature the translator has to respect, since there may be some scenes where visual elements are more important than verbal elements and vice versa. However, images are not always universal since there are some source cultural elements or non-verbal communication that are not shared with the target country or community consuming the audiovisual products. The translator should then avoid this problem and offer a solution that fits best in each specific case. Álvarez and Rodríguez (1998:708), who study the difficulties of subtitling, state that: La función estética será la más delicada; el traductor deberá, en la medida de lo posible, a través de sus subtítulos, reflejar la estética imperante en la producción original. Así los distintos registros, las características propias de un personaje o grupo, el habla regional o afectada, los efectos en la pronunciación, los sobreentendidos, etc. deberán verse reflejados en el resultado de la traducción; todo ello sin facilitar demasiado la tarea al público y alejándose si es posible de tópicos y tipismos. 42 They remark the aesthetic aspect within the text. The subtitled text should let the audience enjoy the images, the voices, the sounds, the music, as well as the subtitles. The aim of subtitled texts is for spectators to be able to focus their attention on the same points the director wanted them to focus on when s/he created the original text. Although there are many aspects the translator has to bear in mind when tackling the subtitling process, s/he also has to consider the differences that appear when the oral and the written productions are compared. It is clear that our reading speed is not as fast as our listening speed, we are able to understand more information if it is said rather than it is written; thus, subtitling is characterised by techniques such as explicitness, compensation or linguistic condensation (Álvarez and Rodríguez, 1998:708). In other words, the translator should be able to express the same information the different actors say but summarising it in about 35 characters per line –depending on the platform where the text is broadcast, the number of characters per line may differ– with a maximum of two lines, with the added difficulty of transmitting other elements involved in the audiovisual discourse as well. However, it is not possible to include every oral resource used in the ST; hence the text should complement the images the audience is seeing, avoiding unnecessary duplications. 43 2.4.1 Priorities and restrictions in the subtitling process As stated before, images transmit more information than words, especially in American texts, where what we see has even more relevance than what the characters say, since they tend to include more action than other kinds of texts. This is the reason why words should complete the information of the images, and never disagree with the latter. Thus the translator has to use a functional language, transmitting only what is important without including unnecessary and redundant information. S/he must also use a standard and neutral language, in order to avoid rejection among the audience. Due to its special nature, subtitling must follow some standardised rules in order to fulfil the requirements of this type of translations and satisfy the language needs of the audience. There is some general advice to tackle the translation of an audiovisual text, which could be summarised as follows: a) Translate the content of the text, its essence, not the exact words. b) Make the audience think they understand the scenes without reading the subtitles. Recommendations about how to present subtitles according to different scholars, such as Marleau (1982), Agost (1996), Gottlieb (1997), Gambier (2007, 2009), or Georgakopoulou (2009), among others: 44 1. Fit the space limit. Subtitles should include around 35 characters, although it depends on the multimedia platform where the text is displayed. On the other hand, the reading speed is another aspect to bear in mind, since the audience can read and assimilate a maximum of information in a short period of time. The age of the intended audience will be determinant in order to adapt subtitles to a specific reading speed. 2. Avoid including more than two lines per subtitle. This is important as the audience needs to have enough time to read all the information. If they cannot read everything, they may have the feeling that they are missing something. 3. Avoid including many punctuation marks if they do not add relevant information. The aim of the subtitle is to transmit the content and not the way the characters say it –as the audience can listen to the characters’ speech from the soundtrack–. These punctuation marks could slow down the reading pace and complicate the understanding and enjoyment of the audience. 4. If a sentence is not finished, because of the space limit, the end of the subtitle and the beginning of the following one should include ellipsis. This punctuation mark shows that the sentence the audience is reading is unfinished. Although this was the traditional tendency, nowadays this resource tends to be used only when the character wants to leave his/her speech 51 perfectos, han de aprender primero el duro oficio de ser imperfectos. 52 3. HUMOUR Before establishing the possible categories and discussing the different implications of humour within the field of audiovisual translation, there is a need to address the concept of humour as a starting point from which to develop this study. Humour, in this case, stands as the cornerstone on which the following research is based. According to the definition given by the online version of Oxford Dictionary (accessed in March 2018), the noun 'humour' can be defined as: humour (US humor) NOUN mass noun 1 The quality of being amusing or comic, especially as expressed in literature or speech. ‘his tales are full of humour’ 1.1 The ability to express humour or amuse other people. ‘their inimitable brand of humour’ 2 A mood or state of mind. ‘her good humour vanished’ ‘the clash hadn't improved his humour’ 2.1 (archaic count noun) An inclination or whim. ‘and have you really burnt all your plays to please a humour?’ 3 (historical count noun) Each of the four chief fluids of the body (blood, 53 phlegm, yellow bile (choler), and black bile (melancholy) that were thought to determine a person's physical and mental qualities by the relative proportions in which they were present. Although humour can be considered, and in fact is, a universal human quality, people do not perceive, process, understand or react to humour in the same way. Although we all form part of the category of human beings, “humour is a matter of personal taste” (Ross, 1998:xii). Each of us has our own personal perception of the concept of humour. However, the number of different points of view increases when countries, cultures, communities, sex, age, etc. are also taken into account, since our personalities, tastes, and even the perception of the world around us are also determined by our backgrounds. Many scholars have offered their interpretations of humour in order to establish a universal definition that might be accepted worldwide, although there are different and heterogeneous variables that might contextualise humour and the way it is perceived. Some researchers distinguish humour from other concepts such as fun, wit, or laughter (Fuentes, 2000). This is the case of Chiaro (2010), who goes a bit further and relates the term humour to the concept of funniness, defining funniness as “a positive humour response in terms of smiling and laughter, as a reaction to some kind of stimulus” (ibid.:2). However, she observes that people do not react in the same way when they watch and listen to a funny programme. Thus, she differentiates the concepts “positive humour 54 response”, which only encompasses the perception of what is funny from a humorous stimulus, from “exhilaration”, which includes physical reactions (laughing and smiling) as a response to what it is being seen. In this sense, “the term comedy has come a long way from the original meaning of the Greek word komos, which involves the notion of misfortune followed by a happy ending” (Chiaro, 2010:2). All these approaches, considering humour in its broadest sense, are included in this research. All the possible variables of humour are borne in mind, in order to analyse and classify its typology and the way it is transmitted to the TL. As Zabalbeascoa (2001c:255) states, humour is understood as “todo aquello que pertenece a la comunicación humana con la intención de producir una reacción de risa o sonrisa (de ser gracioso) en los destinatarios del texto”, and although laughter is a universal physiological reaction, the perception of humour will depend on each culture, person, situation or mood. It is interesting how scholars such as Bergson, Nash or Zabalbeascoa define humour as a typically human feature. According to this, they establish that humour and laughter are characteristics that are only shared and understood among what Fuentes (2000:9) refers to as “homo ludens” or “homo humoris”. If the source of humour is considered as a benchmark, there are some voices, like Critchley's (2002:1), who state that “humour is produced by a disjunction between the way things are and the way they are represented in the joke, between expectation and actuality”. In other words, incongruity is an important feature when what the audience expects is not 55 what happens. According to Ross (1998: x), “this is the essence of humour: surprise, innovation and rule-breaking”. Therefore, the humorous effect will appear when we manage to shatter the (logical) expectations from a determined situation, with an expressed purpose (Fuentes, 2000:11, my own translation), namely, the breach of these core ideas leads to a humorous effect, as there is a contrast between the content (what is said) and what is derived from the situation. The resource of incongruity is reasonably used in situation comedies to create humour, so it will be taken into account for our analysis in order to recognise it both in the ST and TT. Once the source of humour is detected, its use and how it is created will be explained. Other scholars, like Fuentes (2000:9), claim that humour is a response to an auditory or visual stimulus. Even though his contribution is of great importance for our study, since he includes the two possible channels that are involved in audiovisual texts, we agree with the clarification made by Martínez Sierra (2004:174), who states that the stimulus may be auditory, visual, or both together. We find it necessary to include this explanation, as we base our research on audiovisual texts, where most of the humorous stimulus comes from both channels at the same time. It is necessary to bear this characteristic in mind, as in the analysis, the source of humour is classified. Thus, in other words, it is necessary to clarify if the humour comes from the visual content, on the one hand, from the auditory content, on the other hand, or if it comes from both of them at the same time. 56 Although the act of humour, and response to it, is a simple and natural human reaction, its study is a complex and serious issue. Nash (1985:1) makes an important contribution to the definition of the act of humour, making a distinction between humour, as a human and natural quality, and the act of humour, which may be defined as a deliberate act created in order to obtain a specific reaction. This is an interesting and useful concept for the study, since the humour which appears in audiovisual texts is deliberately created to amuse and to obtain a certain reaction in the audience. This concept is divided into three main ideas: a) A ‘genus,’ or derivation, in culture, institutions, attitudes, beliefs, typical practices, characteristic artefacts, etc. b) A characteristic design, presentation, or verbal packaging, by virtue of which the humorous intention is indicated and recognised. c) A locus in language, some word or phrase that is indispensable for the joke. (ibid.:9) Thanks to this contribution, the three categories, which will uphold this research and the forthcoming analysis of the different types of humour, can be established. This classification will enable us to recognise the piece of humour from the OV, and to analyse how it is transferred to the TL, making it possible to compare the changes or adaptations the final text might have undergone. In this sense, this definition encompasses: (a) the origin of 57 humour, the nature of the piece of humour, and the reason why it is written; (b) its intention or purpose, what the author wants to achieve by including that specific piece of humour at that precise moment; and (c) the content, or the key idea around which the whole specific piece of humour revolves. The latter factor will indicate the type of humour or the category that the humour belongs to, so it is the most important factor for the study. Although we agree with Nash about the idea that knowing the origin and purpose of the humorous element is crucial in order to write a humorous script which fits in with situation comedy parameters, this is an activity that involves many people and many stages, which modify the source text. Therefore, the final text that is broadcast –both in the United States and Spain– will be the one considered in the research. It will be analysed and classified in order to establish the types of humour used in the ST and in the TT, and whether there are any differences in the form, content or moment when the humorous elements appear. Apart from the previous considerations, Zabalbeascoa makes his contribution by adding another factor to the definition of humour that he calls “direction of humour” (1994a:95), and which describes the purpose of humour according to the context in which it appears. This is an important concept because, although the images seen on the screen cannot be changed, the context and perception of the situation could differ depending on the country where the text is broadcast, since humour is not perceived in the same way. This is an important concept to bear in mind when 58 analysing the texts, as a way to justify or explain the solutions suggested by the translator. In accordance with the previous concept, Zabalbeascoa establishes five different types of humour: “'light entertainment' or 'morbid' or 'caustic' (cynical, bitter, etc.), 'harmless', or even 'pedagogical'” (ibid.:95). The use of these types of humour will be determined by the genre of the text and the author’s intention. In this specific case, the type of humour described by the text is “light entertainment”, since the corpus selected –classified as television comedy– stands out mainly as a source of amusement, with the aim of entertaining the audience and making them have a good and relaxing time while watching it. Besides classifying the humour according to the context, it is also interesting to mention another factor, which classifies the relevance of the humorous content depending on the genre of the text analysed. Zabalbeascoa (1994a:95) defines this factor as the “role of humour” and divides it into four points according to how important the humour is within the text. It is remarkably important to mention how relevant this classification is, as the role of humour in situation comedies is crucial when it comes to defining this kind of television product. Thus, these four categories are: 1. Top: like in TV comedy, a joke-story, one-liners, etc. As stated before, this is the point that is considered in the research, since humour is the main feature that defines situation comedies and 59 it is their raison d'être. Sitcoms are characterised by their high humorous content which, in the words of Zabalbeascoa, will be one of the main priorities the translator will have to take into account when tackling the translation of these texts. 2. Middle: like in happy-ending love/adventure stories, TV quiz shows. In these audiovisual texts, humour may appear or be part of them, although it is not their main or their distinctive feature. 3. Marginal: like a pedagogical device, Shakespeare's tragedies. In these kinds of texts, humour has minimum importance, or it is even advisable not to include it. 4. To be avoided: like in certain moments of drama, tragedy, horror texts; or in other inappropriate situations. In this type of genres, it is necessary to avoid humour in all its forms, since including it could offend or hurt people's feelings in some way. After analysing the concept of humour and its variables, the main ideas are: firstly, humour and the response to it are typical human features; secondly, humour that appears in audiovisual texts, and specifically in situation comedies, is a feature that is deliberately created to amuse and entertain the audience, and it stands out as the main and most important feature of the text; and finally, the research is based on the study of the humorous content, received by the visual or the auditory channels, or both together. This content is detected, classified, analysed and discussed in order to elucidate 60 whether there are differences or similarities when comparing the same texts in the SL and in the TL. In order to develop this study, it is necessary to clarify the types of humour that can be found in this television genre, as well as how they can be translated. Once the theoretical framework is established, the analysis of the corpus will be carried out. 3.1 Types of humour An important part of the research is based on the analysis, categorisation and subsequent comments on the different humorous elements found in the corpus. It is for this reason that it is worth classifying them in order to create a theoretical framework on which to base the study. Many scholars have contributed to the classification of humour with their own points of view. Fuentes (2000:17) provides a basic list of types of humour that can be found in any text. He mentions visual humour, verbal humour, audiovisual humour, and graphic humour. This author points out that, with the exception of silent humour, which is purely visual, the other types of humour rely on language as the means to transmit the intended humorous effect. This scholar and his proposal for the classification of humour must be mentioned as he includes audiovisual humour as an independent type of humour. This is the reason why it is a point of great relevance for the research. Although previous scholars only bear in mind the humour transmitted through one single channel –visual or auditory–, Fuentes goes a step further and considers the possibility of transmitting humour through 67 receive the name of people to whom they are attributed, and include: a) Spoonerism: comes from William Archibald Spooner, a priest in Oxford. It is defined as “a mistake made by a speaker in which the first sounds of two words are changed over, often with a humorous result”. An example could be saying “wrong load” instead of “long road”5. b) Malapropism: created by the character Mrs Malaprop in Sheridan's play The Rivals (1775), who misused words. It is “the unintentional misuse of a word by confusion with one of similar sound, especially when creating a ridiculous effect”, as in “I am not under the affluence of alcohol”6. c) Goldwynism: created by the film producer Samuel Goldwyn. Expressions as “include me out” and “im-possible” (Fuentes, 2000:22) are creations of this scholar. Another resource that was developed by Nash (1985) is irony. He states that it is “indisputably a major stylistic resort in humour” (ibid.:152), although he affirms that it is difficult to find a definition which describes this rhetorical element, emphasising that “dictionaries and books of reference are a little uneasy about its narrower import, as denoting a type of linguistic 5 Definition extracted from Collins online dictionary (https://www.collinsdictionary.com/es/diccionario/ingles/spoonerism), accessed on 14th November 2018. 6 Definition extracted from Collins online dictionary (https://www.collinsdictionary.com/es/diccionario/ingles/malapropism), accessed on 14th November 2018. 68 usage” (ibid.: 152). In spite of this consideration, Nash proposes his own version of what he thinks is a more precise definition of irony, comparing it, too, with another similar rhetorical element, sarcasm. The ironist insincerely states something he does not mean, but through the manner of his statement –whether through its formulation, or its delivery, or both– is able to encode a counter-proposition, his 'real meaning', which may be interpreted by the attentive listener or reader. Irony is generally said to differ from sarcasm in this particular, that the sarcastic statement is ostensibly sincere, though it, too, is coded with some mark of peculiar emphasis. (ibid.:152) He clarifies this definition and comparison with an example that “encode[s] sarcastic and ironic expressions of the proposition Tommy is lazy. Sarcastically, it might be said that Tommy doesn't strain himself; ironically, that Tommy is renowned for his labours” (ibid.:152). With this example, the difference between these two terms, which could be difficult to distinguish, can be understood. He finishes his explanation pointing out that coding is essential to differentiate the two concepts, and he uses terms like pro-code, counter-code, and irony mal-code to define them. Sarcasm uses a pro-code, that is, a form of words ostensibly equivalent in denotation to the parent proposition. [...] The pro-code must involve a pejorative counter-code, expressing the speaker's unsympathetic or hostile attitude. [...] Irony mal-codes, designedly choosing forms of words that misrepresent the content of the message. [...] [T]he ironic counter-coding is not, like that of sarcasm, a means of emphasizing an attitude, but rather, a matter of reversing significances. (ibid.:152-153) 69 It is then necessary to explain these concepts, as they are stylistic resources used in the corpus. They can be classified following a new category proposed by Chiaro, “verbal humour”, where she includes and defines the term wordplay as “every conceivable way in which language is used with the intent to amuse” (1992:2) and continues clarifying that “the term wordplay conjures up an array of conceits ranging from puns and spoonerisms to wisecracks and funny stories” (1992:4). Besides images, humour is also transmitted through the words said by the different characters of audiovisual texts. This is the reason why this category proposed by Chiaro is important for the study, as it is a humorous typology frequently used in the texts analysed. A few years later, Delabastita (1996:128) also contributes to defining the specific concept of wordplay, a term he uses interchangeably with pun, as [t]he general name for the various textual phenomenon in which structural features of the language(s) used are exploited in order to bring about a communicatively significant confrontation of two (or more) linguistic structures with more or less similar forms and more or less different meanings. This scholar continues his definition, adding that this humorous element is created by “contrasting linguistic structures, with different meanings on the basis of their formal similarity” (ibid.:128). Delabastita (ibid.:128) classifies puns in four categories: 70 1. Homonymy (identical sounds and spelling): like the word left, which can be, i) the past tense of the verb to leave; and ii) the opposite of right; 2. Homophony (identical sounds but different spellings): like in the words right and write; 3. Homography (different sounds and meanings but identical spelling): like the word sow, which i) as a verb means to plant seed and is pronounced /sʊ/; and ii) as a noun means female pig and is pronounced /saʊ/; 4. Paronymy (there are slight differences in both spelling and sound): as in the words affect and effect. Gottlieb (1997b:213) proposes three subcategories of homonymy, which are added to Delabastita's classification: 1. Lexical homonymy (single-word ambiguity): as the word seal, which can mean i) a sea animal; and ii) a design printed on paper by means of a stamp7; 2. Collocational homonymy (ambiguity of the word in context): as in “bear children” (Rogers, 2016:131). As the word bear is a homonym, depending on the context where it appears, it may give rise to confusion. 3. Phrasal homonymy (ambiguity within the clause): as in “Once 7 Example extracted from the website (https://studfile.net/preview/4536648/), accessed on 14th November 2018. 71 you've seen one shopping center you've seen a mall” (Zysko, 2017:90). This ambiguity is created as the common expression could be “Once you've seen one shopping center you've seen them all”. Attardo (2001) creates six “knowledge resources” in order to explain a “General Theory of Verbal Humor”. It includes script opposition (SO); logical mechanism (LO); situation (SI); target; narrative strategy; and language. Of these six resources, the last four are the ones that may be interesting for our study, since they focus on the language and narrative strategies –they belong to the auditory channel–, and on the objects or other paralinguistic elements (situation) used to transmit humour –they belong to the visual channel–. It is also important to know for whom the humour is created or who is the object of the joke. Another proposal for the classification of humour is found in Elwood’s (2007:4) essay, which focuses on the specific kind of humour that appears in television and magazine advertisements. This is an interesting categorisation for the study, since the corpus meets the typical characteristics of this genre –as it is a situation comedy– and therefore, humour is its main feature. The text was also created to be broadcast on television, so the corpus fulfils the two main characteristics of her proposal. This scholar classifies the types of humour that appear in these texts: 72 1. Comparison: when two incoherent, bizarre, or contradictory elements appear together. As mentioned above, Critchley (2002:1) states that humour appears when there is “a disjunction [...] between expectation and actuality”. 2. Personification: attribution of human characteristics to nonhuman elements. This is a resource which is not expected by the audience. 3. Exaggeration: intensifying elements, such as volume or emphasis of the voice. 4. Pun: using the language to create humorous elements, as already explained. 5. Sarcasm: comments that mean the opposite of what is said. This category was developed by Nash and has already been described. 6. Silliness: funny, foolish, or ridiculous situations. This kind of humour is typical of visual humour. 7. Surprise: unexpected situations. As seen throughout this chapter, there are many scholars who develop different theories in order to describe humour, and many other taxonomies which try to define and classify it. By means of the research undertaken, it is clear that each scholar gives his/her own point of view on this issue. However, for our specific study, we will use those classifications that describe and define audiovisual humour, and whose humorous elements are 73 transmitted through visual or auditory channels, or both together. In the following chapters, we will research and analyse the proposals made by scholars about the specific humour appearing in situation comedies and how those humorous elements can be translated and fit in with the TT. 3.2 Humour and translation 3.2.1 Factors in translating sitcoms As pointed out in previous chapters, sitcoms or situation comedies belong to the category of humorous television programmes. When these types of series are imported from other countries, these texts need to be translated in order to be understood in the target country and by the target audience. Before starting to enumerate the different factors involved in the translation of this kind of texts, it is important to establish the theoretical framework in order to understand the translation process. According to Zabalbeascoa (1994a:89), there are two approaches that explain “what translation is and what it involves”: 1. A prescriptive theory of translation: this includes the different theories and strategies proposed by scholars, which the translator should know in order to develop his or her activity in the best possible way. 74 2. A descriptive theory of translation: this is what translators do and it describes the decisions taken in each case. However, the translating activity is not such an isolated act as it may seem, since the translator receives instructions or requirements from employers or directly from the final clients, who play an important role within the translation process The client's role is so important because the actual translation should be made to suit his or her instructions, and those very instructions can be determining in themselves if they are specific or restrictive enough. The TI [Translation Initiator] can be a help or an obstacle. (Zabalbeascoa, 1992:41) This factor has been developed in-depth in chapter 3.2.1.1, Priorities and restrictions in the translating process. Furthermore, the translation must follow some criteria and conventions in order to be accepted. Thus, “translations must be evaluated according to their success in achieving predefined goals against the operative constraints for each occasion: that is, their success as a communication act” (Zabalbeascoa, 1994a:90). This definition establishes the purpose and aim of the translation within a specific context and audience. As stated before, the translating process is not an isolated activity, as it depends on several aspects that constrain it. Zabalbeascoa (1994a:90) proposes three different contexts: the original context –related to the different features that define the ST–, the context of the TT –features that 75 define the TT and that may be the same as the ST or not– and the translator and the context in which the translating process takes place –this focuses on the translator's capacity and conditions to develop his or her activity–. Zabalbeascoa (1994a:91-92) summarises the different constraints that may arise when dubbing or subtitling television comedy texts, distinguishing three factors involved in translating television comedy: First of all, there is the common ground of all translating processes and general questions and aspects related to the nature of translating. Then we have to take into consideration the current dubbing [and subtitling] techniques, means, conventions and technologies. Thirdly, the factors involved in television production. Fourthly, the professional context; the degree of teamwork (how much is required and how much there actually is). Finally, it is also important to have a good grasp of the nature and devices of humour and, in particular, of comedy: its language, how it works, and its varieties. From these words, the translator's knowledge about diverse aspects of the translating process, television productions and humour can be remarked. The translator's cultural background must cover the knowledge of the two languages and of the two cultures, as s/he should be capable of detecting all the nuances from the ST and transmitting them to the TT, always bearing in mind the specific factors that characterised both of them. As seen in this chapter, many aspects determine the final result of the television comedy. However, we consider training as the main aspect that determines the quality of the translation and its acceptance by the audience. Zabalbeascoa (1994a:96) states that “courses designed for training translators of audiovisual texts need to show future professionals 76 what kinds of techniques are effective, appropriate or inappropriate and in what types of texts and contexts”. This specific and specialised training will lead to a better knowledge of the resources the translator has at his or her disposal, and the different techniques s/he may use. 3.2.1.1 Priorities and restrictions in the translating process In line with the factors that are associated with the translation of sitcoms or television comedy programmes, the multiple priorities and restrictions involved in the translation process have to be discussed. Zabalbeascoa is one of the scholars who has further developed the classification of the priorities and restrictions appearing in the translation of television comedy. In order to explain and criticise the production of any translation, it is important to consider what Zabalbeascoa (1996a:352) establishes as “a set of priorities” and “a set of restrictions”. These are variable factors the translator will have to bear in mind to produce “a coherent, faithful translation” (ibid.:352). Before enumerating the aforesaid, it is necessary to clarify the kind of texts the translator has to work with. Zabalbeascoa (1996a:352-353) establishes three considerations, which are the starting points for the discussion of the features that characterise this type of texts: they are audiovisual texts, so the translator has to bear in mind sounds –spoken words and other sounds– as well as images; they are framed within the category of television comedy, so they are broadcast on television and they 83 The interaction of the two elements, which are part of any audiovisual text –the visual and the auditory–, is not always received in the same way by the source audience as by the target audience, given that other features such as cultural elements come into play. Hence, the TT might be altered to fit the images and to make the entire text more comprehensible to the target viewers. In the same vein, the way the spectators interpret the images and the message transmitted may be different; therefore, translators should be able to transfer not only the information within the text, but also its meaning (Chaume, 2001a). Considering all these factors, namely, visual and acoustic channels, humorous features and cultural elements associated with humour, the audience may react to humour in a different way even in the same language and culture, making the translator’s work even more difficult. The solutions available to the translator can range from direct translation, omission –losing the humorous element–, compensation –losing the humorous element at that precise moment but adding a new one afterwards–, to the creation of a new humorous element. Translating audiovisual texts is a challenging task, made even harder when humour is one of the features of the text to be translated. Some translators find it difficult to find funny solutions to the ST, so this could, according to Chiaro (1992:85), be one of the problems the translator will have to face: If it were not for the canned laughter many jokes and humorous quips occurring in foreign versions of imported American comedies could easily pass by 84 unnoticed. Despite signals which indicate that someone has just said something funny, it is not always the case that the audience is going to be amused by the translated quip. When judging the translation of situation comedies, “it would seem logical to judge the merit of a dubbed version on how funny the result is, rather than on how faithful it is on any other level” (Zabalbeascoa, 1996a:245). However, the translator's work can be restricted by other elements, such as visual constraints, which may make him or her consider other alternatives in order to transmit humour (Zabalbeascoa, 1996a:245). The restrictions, which translators of situation comedies have to face, somehow justify the final decisions they make. Zabalbeascoa (1996a:248) mentions that some recurrent restrictions may include differences in background knowledge of the original and prospective audiences; differences in cultural and moral values, customs and traditions; differences in conventional themes and techniques of joke-telling; the translator's professional context; timing and lip-synchronization, verbal humour depending strictly on features of the source language and/or the visual context which defies manipulation, and so on. Apart from all these restrictions, Zabalbeascoa (1996a:248) adds another one: the translator himself as another variable in the process of translating the ST. However, in many cases, it is not the translator alone that makes the final decisions, sometimes s/he is constrained to make a specific choice by a higher authority, even if it is not the solution or strategy s/he would have made or used. In this regard, Chiaro (1992:85) states: 85 It would appear that translators are often afraid of moving away from the text and replacing an untranslatable joke with another one which would work in the target language, even if it is completely different from the original. It could be concluded, from this statement, that the sole responsibility devolves upon the translator, whereas, in fact, the translator is just one of the many steps the text has to pass through. Moreover, the translator is sometimes constrained by some other restrictions that are imposed by higher authorities, as well as by a short deadline to finish the translation. All these conditions, apart from his or her previous experience and knowledge, might lead the translator to choose the fastest or a literal translation option, rather than a more convenient one. Nevertheless, in order to translate humour in audiovisual texts, the translator must have a vast linguistic, cultural and pragmatic competence, as well as a great deal of creativity when transferring any humorous element from the ST to the TL (Díaz Cintas, 2003:254), always bearing in mind the final receptors of his or her translation. Thus, the decisions taken should be target-audienceoriented choices. In the classification of the different types of humour, not only what is heard has to be considered, but also what is seen. This is the reason why translating audiovisual texts, and especially humour in audiovisual texts, is one of the most difficult tasks a translator has to deal with. Chaume (2004:186) argues that: Los textos audiovisuales constituyen un género paradigmático en el cual la información no verbal desempeña un papel sumamente relevante. Precisamente 86 aquello que nos permite agrupar estos textos en un género paradigmático, o género de géneros, es que en casi todos ellos el significado emana de la interacción entre información verbal e información no verbal. This statement shows that what the character says is as important as what s/he does not say, in other words, his or her gestural performance (Díaz Cintas, 2003:253). Some types of humour can be created from the interaction or the confrontation of the verbal and the visual or nonverbal message, when what is said does not correspond to what the audience sees. Thus, this incongruity might create a humorous scene. All these strategies need to be borne in mind, as Chiaro (2000:28) states that when words are involved in the production of humour, translation problems arise. Most of the times, humour is based on linguistic elements which may create different syntactic, morphological, phonetic and lexical problems when translating texts from the English to the Spanish language. The reason for these difficulties is that Spanish discourse needs to use more words to explain the same ideas, whereas the English language is more concise. This leads to some synchrony and timing obstacles the translator will have to solve, among other types of restrictions such as visual, acoustic, or other nonverbal constraints. Chiaro (2000:32) explains that “puns on screen are totally dependent on, and at the same time restricted by, the visual code”. In the specific case of situation comedies, Chaume (2004b:850) states that this audiovisual genre is identified by “a prefabricated use of oral language”; and Gregory (1967:192) states that it is a text “written to be 87 spoken as if not written”, a characteristic shared with other audiovisual products. As seen in a previous chapter, another important consideration when translating a humorous audiovisual text is what Zabalbeascoa calls the “role of humour” (1994a:95), in other words, how important humour is within a certain text, and how necessary it is to be kept in the TL. Regarding sitcoms, and according to Zabalbeascoa's ranking, the importance of humour is “top” (1994a:95) in this case. 3.2.3 Difficulties in translating humour It is well-known that every country, apart from having its own language, has a different culture, which is its distinguishing feature. Culture identifies customs, traditions, lifestyle, among others; and regarding humour, every country reacts to different situations in a different way. Every country, every community and even every person has their own idea of what is funny. The problem of linguistic transfer is that the source audience does not always necessarily share the same concepts as the target one, making the translation process an arduous task. The translator not only has to cope with the change in the linguistic code, but also with what could be called an adaptation of the meaning of the text that is transferred, so that the target audience can accept it as an original. Being aware of the difficulties of translating, it is clear that translating audiovisual texts may require an extra effort by the translator, 88 as s/he has to keep in mind what is said, as well as the way in which it is said, taking into account both the visual and acoustic elements involved in the scenes. It is clear, then, how arduous the process of transferring information from one language/culture to another is, although this can be more or less difficult depending on the pairs of languages involved. There are countries and languages that have more features in common than others. In the case dealt with here, English and Spanish languages, and American and Spanish countries/cultures are involved. As far as the linguistic code is concerned, it is well-known that the English and Spanish languages have little in common, as both have different roots and evolution. It is for this reason that it could be thought that the transfer of information between these two countries/cultures –or communities– could be problematic. Nothing could be further from the truth; the main reason why American humour has been so widespread over the years is the great amount of audio-visual material exported. This leads to the fact that, nowadays, American culture, customs and traditions are considered common in Spain. Today, the information imported from the United States is accepted in our country with no big surprise, or rejection (cf., e.g., Rossato & Chiaro, 2010:122). Although this fact could make us think that the information, and more specifically the humorous elements, could be easily transferred, some changes have to be carried out in order to obtain a text that can be broadcast in Spain. The Spanish audience does not necessarily find the same elements funny as American people do, so a number of adaptations have to be carried 89 out for the audiovisual text to be accepted in the same way as the source audience did. In order to undertake all the necessary changes to the ST, there are many researchers who provide a wide range of possible strategies. According to the requirements of the audiovisual texts, the translator will have to choose the most suitable options to obtain both a culturally accepted text and a solution that meet the genre's requirements. In this case, as the corpus selected is a sitcom, the major priority to be considered is the transfer of humour. Most of the suggested strategies need a great deal of creativity, on behalf of the translator, in order to find the best and most suitable solution to the different types of humour nuances that appear in the text. Many authors have suggested strategies that are closely related to creativity. We also find scholars like Venuti (1995), who establishes concepts like domestication –when foreign concepts are adapted to the target culture– and foreignisation –when the source concept is transferred without adapting it to the target audience–. Fawcett (1997) lists eight strategies: 1. Borrowing: when the TL takes a form from the SL to fill an existing gap, like the word CD; 2. Calque: when the TL adopts a meaning from a SL of an existing word, like the word “high resolution” which in Spanish is “alta resolución”; 3. Literal translation: “This is the rare but always welcome 90 case when a text can go from one language into another with no changes other than those required by the target language grammar” (ibid.:36), like in “the girl eats a pizza” and “la chica come una pizza”; 4. Transposition: when the usual order of the words in a sentence is altered (RAE, accessed in December 2017), in the specific case of translation because the SL structure does not exist in the TL, like in “working with...” and its translation “trabajar...” or “el trabajo...”; 5. Modulation: “the signifier changes while the signified remains the same, and this is achieved by various forms of metaphor, metonymy and synecdoche” (Kelly, 1979:133), like in “it is easy to understand” and “it is not complicated to understand”; 6. Equivalence: he explains this term with the translation of an idiom, when the translator has to decide whether translating the meaning or keeping “the flavour of the original” (ibid.:38), like in “it's raining cats and dogs” and “está lloviendo a cántaros”; 7. Adaptation: it appears when a “kind of substitution is supposed to take place when the receiving culture has little or nothing in its experience that would allow it to understand a close translation” (ibid:39), for example, changing the name of a brand appearing in the ST for a more recognisable 91 one by the target audience; 8. Compensation: this strategy is used when a humorous element cannot be translated from the SL to the TL, so the translator chooses to create a new element in the TT, which does not exist in the original. This strategy is used so as not to lose the humorous components of the text. Regarding the techniques a translator can use during the translating process, there are 18 options, proposed by Hurtado (2001), which try to cover the different casuistries the translator may face: 1. Adaptación (Adaptation): the referent that appears in the ST is replaced by another one recognised in the target culture. 2. Ampliación lingüística (Linguistic amplification): several linguistic elements are added to the TT to make it more natural. 3. Amplificación (Clarification): some explanations are included in the TT to clarify or clear up a concept. 4. Calco (Calque): a word or expression is translated word for word. 5. Compensación (Compensation): different explanations or other linguistic elements, which do not appear in the ST, are included within the TT in an attempt to compensate others that have to be eliminated during the translating process. 92 6. Compresión lingüística (Linguistic compression): the different linguistic elements are synthesised. 7. Creación discursiva (Discursive creation): the translator creates new information, different to the ST, to adapt the TT to the target audience or culture. 8. Descripción (Description): a description of a referent which substitutes that term or expression. 9. Elisión (Elission): some information included in the ST is eliminated in the TT. 10. Equivalente acuñado (Coined equivalent): a common expression in the SL is replaced by another common expression in the TL. 11. Generalización (Generalisation): a more general term or expression is used. 12. Modulación (Modulation): there is a change in the point of view or category in the formulation of the ST. 13. Particularización (Particularisation): a more precise term is used in the TT. 14. Préstamo (Loan): a word or expression from the SL is integrated into the TT. 15. Sustitución (Substitution): a linguistic element is replaced by a paralinguistic element or vice versa. 16. Traducción literal (Literal translation): the ST is translated word for word. 99 easier it is to translate the joke.  The visual joke: humour lies only on what we see on screen, so it is purely visual and there is no translation involved, or on a combination of what we see and what we hear, the visual element being the main feature.  The complex joke: a combination of two or more of the abovementioned joke-types. In the same vein as the classification proposed by Zabalbeascoa, we find the contribution of Martínez Sierra. He proposes a similar categorisation. However, he introduces the concept “community” instead of “nation”, used by Zabalbeascoa. In addition to the previous classification, Martínez Sierra (2008:143-150) adds: graphic elements, referring to any message that appears on screen, and gives additional and humorous information; paralinguistic elements, any kind of paralinguistic feature that creates humour; sound elements, any acoustic element, apart from words, which produces humour; and non-marked elements, miscellaneous elements that do not fit into the abovementioned groups, and cannot be easily categorised. Although audiovisual texts use the visual and acoustic channels, most of the important information is orally transmitted. This is why Chiaro's research focuses specifically on verbal humour, since, according to this scholar (2000:28), when words are involved in the production of humour, translation problems arise. However, Chiaro (2000:32) also 100 explains that “puns on screen are totally dependent on, and at the same time restricted by, the visual code”. All this leads to some synchrony and timing obstacles the translator has to solve, among other restrictions such as visual, acoustic or other nonverbal constraints. Chiaro (2006:200-203) suggests three different strategies to translate verbally expressed humour (VEH): to substitute the source VEH in the TL; to replace the source VEH with an idiomatic expression in the TL; and to compensate the source VEH at another moment within the TT. This is an important approach for the study and forthcoming analysis, since, after identifying the humorous elements appearing in the ST, the proposals the translator gives when translating them into the TL are categorised according to Martínez Sierra’s classification. We think this is a thorough categorisation, which perfectly adapts to our necessities and to the characteristics of the text. Hence, we will be able to see whether the humorous effect has been maintained, changed, or eliminated in each case. 101 4. METHODOLOGY AND CORPUS The lines of research in order to perform the analysis, as well as the objectives and the methodology used to classify and justify the types of humour found in the corpus, are established in this chapter. In the subchapter, Corpus, the reasons why the sitcom Modern Family has been chosen are presented, and a brief description of its characters is included to introduce them before performing the analysis. 4.1 Objectives As previously stated, the translator does not just work at a linguistic level but at a cultural level, too. It is then necessary to adopt a pragmatic approach in order to classify and analyse the different humorous examples found in the corpus. Therefore, a descriptive methodology, which permits contrasting the humour that appears in the OV with its translation in the DV and the SV, needs to be adopted. After comparing all these three versions, the possible translation tendencies of this audiovisual text will be identified. Another objective is to classify the different types of humour, basing this categorisation on Martínez Sierra’s proposal (2004, 2008). Once the humorous elements that appear in the three versions have been identified, the decisions the translator makes in each version will be compared, and the reasons leading him/her to use each strategy, considering 102 the audience and the culture where the text is broadcast, will be explained. 4.2 Methodology In order to have representative material and examples that could justify the analysis and objectives, seasons 1, 2, 5 and 6, from the American sitcom Modern Family, have been chosen. Although this series will end in 2020 with its 11th season, it is more interesting to focus the study on the first seasons, since it is then that the characters are introduced to the audience and where more personal features, which depict each character, may be found. After deciding to choose the first seasons from this unfinished series –seasons 1, 2, 5 and 6– to undertake the analysis, the humorous elements which appear when the characters are introduced will be compared. There is, furthermore, a need to determine the characters’ roles within the series. It can also be interesting to prove if there are any changes in the humorous elements that are used over the seasons, and that are related to each character. The format chosen to watch the episodes was DVD, as this permits access to the commercialised original version, in English, and to the DV and the SV, in Peninsular Spanish. The steps followed during the analysis have evolved through different stages. The first stage entailed viewing the 96 episodes of the four selected seasons, with 24 episodes each. During this first step, the 103 humorous elements which could be interesting for the study were detected and their scenes transcribed. The same steps were followed with the DV and the SV. After identifying and transcribing the humorous scenes, a table was designed in order to include all these data in a clear and organised way. Furthermore, the humorous elements identified, according to Martínez Sierra’s proposal (2004, 2008), are also included. Apart from this, the corresponding notes or comments, which explain the elements found in the three versions and the strategies used by the translator, appear below these tables. After completing the tables and classifying the elements, the changes and adaptations the translator undertakes to transfer the humour load from the OV to the Spanish DV and SV are studied. In order to do this, a macro category, based on the different stereotypes that appear in the episodes and seasons selected, is established. From this starting point, the strategies adopted by the translator and the elements used to transmit humour are analysed. Another approach is to study if the humour load has suffered any changes, if it has been compensated or even if it has been eliminated. In this way, the translation tendency according to the type of stereotype analysed can be confirmed. In the study, the humorous scenes in which language is the most important characteristic to create humour are analysed. In the analysis, attention is focused on the translating decisions and solutions proposed by the translator in the Spanish DV and SV and, therefore, the most interesting aspects are those linguistic elements involved in the transmission of 104 humour from the source to the target language and culture. We are aware that there are many more elements used for the same purpose; however, the bulk of the research will focus mainly on this specific element. Apart from analysing verbal humour, the possible stereotypes used in the series to create humour are also taken into consideration. The interest of this research lies in the fact that the different backgrounds of the characters make them face life in a different way in a shared community. Before introducing and classifying the different stereotypes found in the corpus, it is necessary to explain what a stereotype is and why this is a recurring resource in this series. As defined in the Merriam-Webster Dictionary (accessed in November 2019), a stereotype is “a standardized mental picture that is held in common by members of a group and that represents an oversimplified opinion, prejudiced attitude, or uncritical judgment”. Gonzalez-Vera (2012:105) adds to this definition that “[s]tereotypes can be the result of ignorance, distorted images, racism, cultural factors and generalisations based on exaggerations or oversimplifications [and they] usually make reference to cultural aspects such as patterns of behaviour and attitudes attributed to different groups of people”. This clarification is key for the study, since most of the humour load which appears in the corpus is based on some exaggerations or simplifications made of the different social groups portrayed in the series. After viewing and analysing the corpus, a classification of the stereotypes found has been elaborated in order to highlight and justify the most important and recurring stereotypes detected. 105  National stereotype: the differences between countries, or even between some states of the United States, are highlighted, and customs and traditions are stereotyped and ridiculed in some way.  Age stereotype: the differences which arise from different generations are remarked.  Homosexual stereotype: those features which define this group are stressed.  Gender stereotype: the differences and peculiarities which exist between men and women are highlighted.  Bimbo stereotype: some physical features of the characters are portrayed, and the stereotyped idea that beautiful women cannot be smart is developed.  Bumpkin stereotype: the differences which exist between people who live in the cities and people who live in the countryside are shown. Another important characteristic from this categorisation is that the stereotypes analysed do not only show how the respective social groups see themselves, but also how other people see those social groups, giving their own points of view, too. Apart from the analysis of the different stereotypes that appear in the sitcom, those scenes that base their humour load on language, and that 106 cannot be included in any of the previous stereotypes, since their source of humour is more general, are also analysed. 4.3 Corpus 4.3.1 Sitcoms, an important genre in the United States and in Spain The Cambridge Dictionary (accessed in March 2018) defines sitcom or situation comedy as “a funny television or radio show in which the same characters appear in each programme in a different story”. The Encyclopaedia Britannica (accessed in March 2018) extends this information stating that it is a: radio or television comedy series that involves a continuing cast of characters in a succession of episodes. Often the characters are markedly different types thrown together by circumstance and occupying a shared environment such as an apartment building or workplace. Sitcoms are typically half an hour in length; they are either taped in front of a studio audience or employ canned applause, and they are marked by verbal sparring and rapidly resolved conflicts. Interestingly, the adjectives funny and comedy have a very important role in the definition, and that is because humour is the fundamental component that defines this type of audiovisual texts. Chiaro (2010:2) goes a bit further and describes the term humour relating it to the concept of funniness, defining it as “a positive humour response in terms of smiling and laughter, as a reaction to some kind of stimulus”. However, she finds that people do not react in the same way when they watch and listen to a funny 107 programme. Thus, she distinguishes the concepts positive humour response, which encompasses only the perception of what is funny from a humorous stimulus, and exhilaration, which includes physical reactions (laughing and smiling) as a response to what is watched. In this sense, “the term comedy has come a long way from the original meaning of the Greek word komos, which involved the notion of misfortune followed by a happy ending” (Chiaro, 2010:2). Through all the funny and humorous elements that form part of sitcoms, it is not surprising that this kind of texts enjoy great popularity, as 52% of U.S. adults typically watch humorous shows in their free time, according to the Scarborough USA+ Study report of 2012. Moreover, as stated in the CNMC report, 9 out of every 10 Spaniards watch TV for pure leisure and entertainment. The origin of sitcoms dates back to 1930s, to the days of entertaining radio programmes, which performed, as the Encyclopaedia Britannica (accessed in March 2018) calls them, “gang shows”. They could be considered the first approaches to what today are known as comedy series in which a cast of performers remaining the same from week to week would make use of a series of humorous situations or catchphrases, gradually building up a familiar background against which the incongruities of the script could exploit humour to the full. (Encyclopaedia Britannica, accessed in March 2018) From the start, television gained popularity at the expense of the radio, which led to the birth of situation comedies, short programmes that showed 108 daily life situations performed in a humorous and catchy way. The stories told in these audiovisual texts, apart from being very entertaining, attracted the audience, as they could identify themselves with the actors and actresses. 4.3.2 Modern Family When analysing the types of humorous elements and the strategies used in the sitcom Modern Family, it is remarkable that there are different types of humour depending on its characters. This is a very eclectic series, where every character has its own personality. In the forthcoming analysis, the most recurring elements used by each member of the cast, and the solutions given by the translator to each one, are detected. This sitcom tells the story of a large and unconventional family. It is presented as a mockumentary or “mock documentary, which is a parody presented as a documentary recording real life” (Wikipedia, accessed in March 2018). This feature confers on the series originality and a new perspective when compared to other TV programmes. It revolves around three different types of family (nuclear, stepand same-sex), where Jay Pritchett appears as the head of the unit. He has married his second young wife, Gloria, a Colombian immigrant. He is the father of one boy, Joe, born during this second marriage, the stepfather of Manny, the son from Gloria's previous marriage, and father of two grown children, Claire and Mitchell, born during his first marriage. The rest of the 115 Fulgencio Joseph, “Joe” Pritchett He is the son of Jay and Gloria and is Manny's half-brother. Although his name is Fulgencio, like his maternal grandfather, Jay decides to call him by his middle name. He is Manny's brother, from his mother's side; Claire's and Mitchell's brother, from his father's side; Phil's and Cam's brother-inlaw; and Haley's, Alex's, Luke's and Lily's uncle. As Joe is just a baby in the seasons analysed –he was born in the fourth season– we cannot know his personality. However, he can create some humour due to the way he behaves. Dunphy family: Philip Humphrey, “Phil” Dunphy He is Claire Dunphy’s husband and father of their three children: Haley, Alex, and Luke. He is a real estate agent in California. He is in good shape, as he lives a healthy life and practices different sports, such as power walking or tightrope walking. Family is very important to him, and he always tries to spend time and share hobbies with them, especially with his son Luke, with whom he establishes a tight bond. He describes himself as a “cool dad” and tries to become a friend of all his children, so he acts more like a child rather than like a father, a reason why he sometimes embarrasses his own daughters. 116 As his children grow up, this character also evolves to adapt himself to their new preferences, so we could say that he matures at the same pace as his children. He is portrayed as a good and sincere person, who tries to solve all the problems through dialogue, avoiding every kind of conflict. He also appears as a funny, fun-loving, childish, and optimistic person, who has a positive attitude towards problems, a trait that contrasts with his wife's, who has a more serious and mature character. He is also fond of technology, trying to be up-to-date and to have the latest gadgets. He also likes science-fiction, role-playing and robots. He is portrayed as a dreamer, optimistic, easy-going, and happy-go-lucky person, who faces problems from a positive point of view. However, although he shows a carefree personality, he can also be serious when a member of the family is involved in any important issue, particularly his children. The humorous scenes found in relation to this character are related to his childlike and clumsy personality. He is also involved in accidental double entendres which lead to funny moments. Claire Melinda Dunphy She is the daughter of Jay Pritchett, Mitchell's older sister and Phil's wife. She is two years older than her brother, with whom she has always had a good relationship, and used to share some activities, such as figure-skating. 117 However, she does not have a good relationship with her mother, who was always criticising her, and made her feel she was not doing anything right. All this, together with the fact that she was a daddy's girl, did not help in improving this relationship. When she was younger, she was a wild girl who usually got into trouble. As she does not want their children to be like her, she hides her past to them and she portrays herself as a perfect woman, since she does not want them to make the same mistakes she made in the past. One of them was getting pregnant with her first child when she was just dating Phil. This is the reason why they got married four months later. She appears as a perfectionist and controlling person, she always needs to have everything scheduled and under control, traits which lead her to be stressed and be considered as a bossy or arrogant person when she wants to sort everything out. Since she is a stay-at-home mother, she is in charge of the whole family, taking an active part in her children's school activities or organising events. However, she is a trustworthy person and the rest of the family usually go to her for advice. She is also portrayed as a competitive woman, a trait inherited from her father, who treated her like the son he would have liked to have, since Mitchell was gay and did not want to behave like a man. She is an attractive and active woman who enjoys keeping fit and doing physical exercise, although she sometimes has masculine mannerisms or wears manly outfits. It is not until the fifth season that she goes back to work. She justifies this decision by saying that her children are old enough, so she starts working 118 for her father, first, and later, when Jay retires, she takes over the whole company as its CEO. Claire embodies the mother stereotype because of the way she acts, sharing the typical traits associated with this member of the family. She also has her own opinions about immigration and homosexuality, similar to her father’s, which is curious since her brother is a homosexual and her father's wife is an immigrant. Haley Gwendolyn Dunphy She is the eldest child of Claire and Phil, and the sister of Luke and Alex. She was conceived outside marriage, and she was the reason why her parents got married. She was described as a sweet, lovely, and affectionate child until she hit adolescence. She appears as a young and pretty girl who develops a rebellious personality, just like her mother at her age. She is considered the pretty girl in the family, and her interests and hobbies are related to beauty and fashion. Before becoming an adult, she developed a liking for drinking alcohol and for parties, just like her mother. She is portrayed as a slowlearning and forgetful girl who needs time to understand jokes or the irony they contain. This lack of intelligence is a constant and recurring source of mockery, especially from her sister. On the other hand, she appears as a stereotypical American teen, since she is very popular at high school, although she is not a very good student. However, she gradually matures as 119 the series progresses, finding a job and trying to behave more like an adult. Her interests concern her appearance and shopping. This is the reason why she tries to find, and does find, a job within the fashion world, working as an assistant for a fashion designer. In the fifth season, her interest in photography is revealed, and she is even chosen to display her family photographs in an art gallery. The stereotypes, associated with this character, are related to physical appearance and the belief that beautiful girls cannot be intelligent. In this case, this character fulfils this stereotype and her personality leads to several humorous scenes. Alexandra Anastasia, “Alex” Dunphy She is the middle child of Claire and Phil and is portrayed as the cleverest and most intelligent of the three siblings. As she is an overachiever, she usually uses sarcasm and condescension when she talks to other people, especially to her own family, although most of the time nobody understands her sense of humour. She also takes advantage of her intelligence and fools her siblings, making them believe unrealistic things. However, she loves them and she is always willing to support them, too. She is used to being the best in everything she does, so she develops a competitive personality, like her mother. She is very independent, as her parents pay more attention to her other siblings, and in many cases she seems to have more common sense than any of them, including her parents. 120 In contrast to her older sister, she is not concerned about appearance and fashion, although as she gets older, she asks her sister for some fashion advice. Another difference with respect to her sister is that Alex is not a popular girl at school, and finds it difficult to make friends. However, she is an outstanding and hard-working student. She plays the cello and she belongs to the French and debate clubs, activities she does in order to enter a good university when she gets older. The stereotypes associated with this character are related to smart people who make fun of others who are not as intelligent as them. She also fulfils the stereotype of smart people who are not pretty and who do not care about the way they dress. This character makes use of irony to create humour, being even funnier when other characters do not realise that she is mocking them. Lucas Philip, “Luke” Dunphy He is the third and youngest child of Claire and Phil, and the younger brother of Haley and Alex. He is portrayed as a playful, mischievous, and rambunctious boy. He is considered to have low intelligence but this trait gives him some innocence that his mother loves about him. He is also seen as a mindless person due to some bizarre actions, and because he frequently gets distracted by other things when he is doing something important. As he is an innocent and sweet boy, Claire calls him her baby and she does not want him to get older. 121 The stereotypes associated with this character are related to the idea that he is not an intelligent boy and he is quite innocent, so he believes everything he is told. He also uses the visual element to transmit humour, due to the activities or hobbies he has, some of which are shared with his father. Tucker-Pritchett family: Mitchell Vincent Pritchett He is Jay's son and Claire's younger brother. He is also Cameron's husband and both are the adoptive parents of Lily, a Vietnamese girl. He is a shy and smart man who works as a lawyer for a law firm in California. Even if he seems a bit of a snob, his aim in life is to help others and the environment. Due to his personality, he is closer to his mother, whereas Claire is closer to his father. Although the siblings have opposite characters, they love each other and they show it from the very beginning, when they were both figure-skating partners during their youth. Claire was also very supportive when he decided to say he was homosexual, since his father was reluctant to hear this news. Before coming out of the closet, he dated some girls and later some other boys, until he met Cameron. Despite their differences, Mitchell and Claire share a sense of responsibility, and both are portrayed as perfectionist people, since they want to have everything under control. These traits are completely different 122 to Cameron's, since the latter develops an uninhibited personality; however, one counterbalances the other and they are presented as a strong couple. Due to his peaceful personality, Mitchell always avoids confrontations and tries to solve every problem through dialogue, both with members of his family or with strangers, trying not to disappoint anyone. He has also developed a problem with public displays of affection, blaming his father for this. However, over the seasons, he tries to change this trait of his personality. The stereotypes associated with this character are related to his job, as a lawyer. It is thought that lawyers behave in a certain way and he shares some of those specific traits. He also embodies the stereotype of a homosexual person but, as he is so shy to show his emotions, feelings, or sexual orientation, he sometimes tries to hide it, a tendency which changes over the seasons. Cameron Scott, “Cam” Tucker He is Mitchell's husband and the adoptive father of Lily. He grew up in a farm in Missouri, of which he has good memories and never misses the opportunity to talk about it. He stands out in many fields, such as music, sports, and art. He loves playing and coaching football, as he says this sport has given him the confidence and respect among people around him, especially when he came out. He is portrayed as a compassionate, empathetic, and kind person. 123 He cannot stop helping other people, especially the most disadvantaged, something which annoys Mitchell when he spends more time helping others at the expense of his family. He also loves being the centre of attention, in contrast to Mitchell, who prefers to be in the background. These personality differences lead to hilarious and funny scenes in the series. Although Cameron seems to be a strong person, he does not handle criticism, especially concerning his body –he is overweight– and his talents –as he stands out in many fields–. He also has many hobbies, such as flower arrangement, photographing Lily or shooting home films. Apart from the abovementioned hobbies, it is necessary to remark his interest in clowns, since he makes up his own clown alter ego called Fizbo. Fizbo is an Auguste Clown, and although some members of the family, such as Mitchell, Phil –who is afraid of clowns– or even Lily, do not like it, Cameron is very proud of his creation. The stereotypes associated with this character are related to his appearance and more specifically to his body, since he is very insecure about it. Another stereotype that represents this character is homosexuality. He fulfils the image people have about homosexuals and embodies the main traits associated with this group. Lillian Elizabeth, “Lily” Tucker-Pritchett She is the adopted Vietnamese daughter of Mitchell and Cameron. As Lily is adopted as a baby, she does not have an important role during the first 124 seasons. However, over the years, she develops a hilarious, entertaining, and charming personality, although her parents claim that she has not demonstrated any sense of empathy. In some episodes, the audience can see that she worries about her parent's welfare or she shares her toys with Joe. Her funniest moments within the series appear when she shows some of the traits that are related to children stereotypes. After having introduced and learned more about the different personalities developed by the main characters that appear in this American sitcom, the different types of humour, which are analysed in the forthcoming chapter and which are characteristic of each member of the family, can be framed and understood as a whole. This study focuses on the first half of the sitcom (first, second, fifth and sixth season). A comprehensive and representative sample of episodes has been selected (96 episodes in total, 24 episodes in each season), which will allow us to analyse the humour that identifies each character, and the way in which it changes over the years. The adaptations, modifications or alterations that have been made to the Spanish DV and SV, for the text to be broadcast in Spain and accepted by the target audience, will also be studied. 131 Jay: Undermining. Gloria: And now you’re doing it to me, too. Humorous elements: L DV: Gloria: Lo último que necesita Manny en su primer día de clase es que tú le manes la confianza. Jay: Mines. Gloria: Y ahora me lo haces a mí. SV: Gloria: Lo único que le falta a Manny/ en su primer día de clase// -es que le mimes la confianza.// Jay: - Mines.// Gloria: Y ahora me lo haces a mí también./// Humorous elements: L Humorous elements: L Cognitive background:  Contextual case (CC): 1. Gloria explains that it is important for parents to support their children. Comments: The humour load is based on the national stereotype with the use of verbal humour, where language is the element that creates the humorous scene. It is assumed that foreigners, since they are not using their mother language, may make some mistakes when they speak in their second language, in this case, English. Humour arises by means of the use of a pseudomorph, according to the classification proposed by Nash (1985:143). This resource creates a new word with humorous purposes. Instead of using the verb “to undermine”, Gloria uses an invented verb, “to undermelt”, which makes no 132 sense and does not exist in English. In the DV, the translator keeps the L element. However, the strategy used in this version is different to the OV, since the translator chooses paronymy, according to the outcomes of the translated pun proposed by Delabastita (1996:134), to maintain the humour load. The verb “manar” (to flow) is mistakenly used, in substitution of the correct verb “minar” (to undermine). The verb is conjugated in the second person singular of the subjunctive “manes”, instead of the correct one, which would be “mines”. This is an appropriate solution to transmit the character’s low level of English, and it also reminds the audience of the name of her child “Manny”, which could also be considered as the source of the mistake when she confuses the verb she has to use with the name of her child. In the SV, the L element is also kept and, like in the DV, the pun used is paronymy. Instead of using the verb “minar”, the character uses the verb “mimar” (to pamper), which has a very similar pronunciation, since the only difference appears with the sounds /m/ and /n/. This could be understood as an acceptable mistake, bearing in mind that the character is talking in her second language, since both sounds belong to the category of nasal phoneme, although /m/ is a bilabial phoneme and /n/ is an alveolar phoneme. This way, the mistake when she mixes both verbs –which, however, have different and opposite meanings– can be justified. The option in the SV is also appropriate to the context, since during the first episodes the character tends to overprotect her child, which makes the choice of the verb “mimar” be considered semantically related to the 133 context. As far as synchrony is concerned, the solutions offered in the SV with the use of the verbs “mimes” and “mines” fit the space restrictions related to this modality of audiovisual translation. However, the difference in the number of syllables that appear in the OV is worth mentioning, four in the case of “undermelting” and “undermining”, and only two in the DV, with the use of “manes” and “mines”. Nevertheless, analysing Gloria’s speech as a whole, there is a greater number of syllables in the Spanish version than in the English version, so the chosen option is integrated and compensated within the whole sentence. Example 2 Season 1, Fifteen percent 07:08-07:16 Gloria: In my country there’s a saying that means, “Love is just around the corner”. I come from a neighbourhood with a lot of prostitutes. Humorous elements: L / CI DV: Gloria: En mi país hay un dicho que dice, “El amor está a la vuelta de la esquina”. Vengo de un barrio con muchas prostitutas. SV: Gloria: En mi país hay un dicho que dice:/ “El amor está a la vuelta de la esquina”.// En mi barrio había/ un montón de prostitutas./// Humorous elements: L / CI Humorous elements: L / CI 134 Cognitive background:  Contextual case (CC): 1. Manny has a date, but she turns out to be older than expected. She is really embarrassed about confusing Manny with a man and thinks she will always be alone. 2. Gloria tries to console her. Comments: The humour load is based on an expression Gloria says, so it is based on a L element, since the double meaning of some words is used in order to create a humorous scene. According to the classification proposed by Nash (1985:146), this sentence is categorised as a pun-metaphor, since, from an apparently innocent saying, a hidden meaning arises and creates a humorous effect. This effect is created by means of the use of the expression “just around the corner”, which can have a double meaning. On the one hand, it can be understood as “love can be found where least expected”, and on the other hand, and with the use of the CI element, as the place where people can find prostitutes, since it is the place where they usually wait for clients. In this sense, it is understood that people find love because they pay for it. What creates the humorous scene is the contrast between what the audience expects to hear and what the character finally says. In the Spanish DV and SV, the pun-metaphor is used in the same way as in the OV, since the same referent is shared in both languages. The strategy applied is literal translation in Fawcett’s terminology (1997:36), since the text can go from the SL to the TL without any changes, apart from 135 the ones required by the TL grammar. Therefore, according to the classification proposed by Delabastita (1996:134), the outcome of the translated pun is PUN ST = PUN TT, since the translator uses the same pun and context as in the OV in both Spanish versions. Example 3 Season 2, The old wagon 02:48-02:58 Gloria: In my culture, mothers are very clingy to their sons. In fact, the leading cause of death among Colombian women is when their sons get married. But I’m not like that. I just want my Manny to be happy. Humorous elements: CI / L DV: Gloria: En mi cultura las madres son muy posesivas con sus hijos. De hecho, la principal causa de muerte entre mujeres colombianas es cuando sus hijos se casan. Pero yo no soy así. Yo solo quiero que mi Manny sea feliz. SV: Gloria: En mi cultura las madres/ son muy protectoras.// La principal causa de muerte/ de las madres colombianas...// es la boda de sus hijos.// Pero yo no soy así./ Solo quiero que Manny sea feliz./// Humorous elements: CI / L Humorous elements: CI Cognitive background:  Contextual case (CC): 1. Gloria is jealous when a pretty girl friend of Manny’s arrives. 2. She supposes that he is in love with her and that he is putting her aside. 3. However, she does not describe herself like other Colombian women. 136 Comments: The humour load is based on the CI and L elements. The CI element appears when the character uses the resource of exaggeration, according to Elwood’s classification (2007:4), to describe mothers’ feelings when their sons get married. The audience may know more about the Colombian culture but it is a distorted description of the reality of the country. Humour arises from the contrast that appears between reality, that is, Colombian women feel a deep sorrow when their sons get married, and the reality described by the character, when she affirms that women in her country die when their sons get married. This information gives the audience the idea that Colombian women are very possessive. The same resource is used in both the DV and SV, since the translator uses the same strategy of exaggerating the main idea in order to create the humorous effect. In this scene, humour results from a combination of CI and L elements. While the strategy of exaggeration is applied in the CI element that revolves around the idea that Colombian women are very possessive towards their children, and especially their sons, the L element contributes to the exaggeration by using the possessive adjective “my”, which reinforces that feeling of belonging, as the character regards her son as one of her possessions, and shows that she truly fits that stereotype of Colombian women. The same element is used in the DV, “mi Manny”, using the possessive adjective “mi” when it is not necessary as the audience already knows that Manny is Gloria’s son. However, in the SV this concept is neutralised and only the proper name “Manny” is used, without any 137 possessive adjective, so the L element disappears, and it remains unclear whether Gloria is telling the truth or not. Example 4 Season 2, Strangers on a treadmill 02:21-02:26 Gloria: That’s what you tell yourself so you can stay above them. You just throw them an Obama Steak and run to the golf course. Humorous elements: CI / L DV: Gloria: Eso es lo que dices tú para ponerte por encima de ellos. Les tiras un chuletón de Obama y te vas a jugar al golf. SV: Gloria: Es lo que tú te dices para seguir/ por encima de ellos.// Les tiras un filete de Obama/ y te vas al campo de golf./// Humorous elements: --- Humorous elements: --- Cognitive background:  Contextual case (CC): 1. Jay does not want to attend an employee’s daughter’s party. He justifies himself by saying that, since he is the boss, nobody would like to see him there. 2. As he is not going, he will send an Omaha Steak as a present. Comments: The humour load is based on two different elements: CI and L. The L element is found when Gloria confuses the Omaha Steak, which is an important meat company in the United States, with the name of the American president at the time when this episode was broadcast, Barack 138 Obama. This linguistic pun results from the paronymy that exists between the pair of words Omaha-Obama. The pun made by the character can be classified as a malapropism, since it is an unintentional misuse of one word that is confused with another word due to their similarity, resulting in a ridiculous and funny effect. However, the L element is not transmitted to the DV or the SV since the audience does not understand the malapropism between the real referent and the character’s mistake when referring to it. Regarding the translation of this cultural reference, and according to the classification proposed by Venuti (1995), a foreignization approach has been adopted in this scene, since the text has hardly been altered and the referent has not been explained or adapted to the target audience. The CI element appears in the ST, so it is necessary to be familiar with the American company to be able to understand this referent. This is the reason why humour disappears in the Spanish versions since the Spanish audience does not recognise the pun. They only know that there is no “Obama steak”, but they do not associate it with the Omaha Steak company, so both the CI and L elements are lost in the DV and the SV. In this specific case, the translation strategy is literal translation, transmitting the ST without any cultural change, apart from those required by the TL grammar. This is the reason why the two elements that appear in the OV are not included in the DV or the SV. We can then affirm that in this case, according to the classification proposed by Delabastita (1996:134), the outcome of the translated pun is PUN > ZERO, so the humorous effect is lost. 139 Example 5 Season 2, Halloween 02:40-03:17 Gloria: Hola, Jay. Jay: Where are you? Gloria: I have Manny in the carpool, and we’re going to the dropout. Jay: Dropout. You mean that Eddie kid? Yeah, he’s a moron. Gloria: No, the dropout, where you drop the kids in the school. Manny: She means “drop-off”. Gloria: That’s what I said. Jay: Listen. Did you ever do anything about costumes for Claire’s thing tonight? Gloria: I’m going to pick them up this afternoon. You’re going to be a gargle and I’m going to be an evil village bruja. Jay: I know less now than I did before I asked. Gloria: Hmm. A bruja is a witch, and a gargle is a gargle. Manny: She means “gargoyle”. Gloria: That’s what I said. Humorous elements: L DV: Gloria: Hola, Jay. Jay: ¿Dónde estás? Gloria: Llevo en el coche a Manny y vamos al punto limpio. Jay: ¿El punto limpio? ¿Lo dices por Eddie? Sí, es un poco guarro. Gloria: No, el punto limpio, donde dejas a los niños en el cole. Manny: Quiere decir punto de SV: [--] Jay: ¿Dónde estás?// Gloria: Llevo a Manny en el coche/ y vamos a dejar el cole.// Jay: ¿A dejarlo? ¿Es por Eddie?/ Sí, es un idiota. Gloria: No, a que los niños dejen en el cole.// Manny: - Quiere decir dejarnos 140 recogida. Gloria: Eso he dicho. Jay: Oye, ¿hiciste algo con esos disfraces para la fiesta de Claire? Gloria: Voy a recogerlos esta tarde. Tú vas a ir de gárgara y yo voy de bruja supermalvada. Jay: Creo que no me he enterado de nada. Gloria: Mmm, que yo voy de bruja y tú vas de gárgara. Manny: Quiere decir “gárgola”. Gloria: Eso he dicho. en el cole./ Gloria: - Eso he dicho.// Jay: Oye. ¿Has pensado en los disfraces/ para lo de Claire de esta noche?// Gloria: Los recojo esta tarde.// Tú irás de “gárgara”...// y yo, de bruja supermalvada.// Jay: Estoy peor que antes de preguntar.// Gloria: Una bruja es una arpía,/ y una “gárgara”, una “gárgara”.// Manny: - Quiere decir “gárgola”./ Gloria: - Eso he dicho./// Humorous elements: L Humorous elements: L Cognitive background:  Contextual case (CC): 1. Gloria is driving Manny and another friend to their school while she phones Jay and explains what they are wearing for Halloween this year. 2. Gloria, being a Colombian immigrant, has some problems with the English language. Comments: The humour in this scene is based on the L element, due to the language mistakes made by one of the characters. In the OV, Gloria confuses the phrasal verb, drop-off, with another phrasal verb, drop-out. This is a very frequent problem in foreigners, since changing the preposition can represent a complete change in meaning of the verb, leading to confusion. 243 words is different, they share the same pronunciation, since the letters <ph> are pronounced as the fricative <f>, /f/. In the DV, the same element is transmitted without any change, due to the strategy of literal translation. However, in this version an explanation is required for the Spanish audience, so the translator chooses to introduce the information explaining that “peces” is the meaning of “Phish-fish”. In the SV, the mnemonic technique changes, so the translation strategy is adaptation (Fawcett, 1997). In this case, the translator chooses to maintain the final pun at the expense of other puns that appear before the latter. At the end of his discourse, the character uses two paronymous words (Delabastita, 1996:128) in order to create a pun. These words are the marine deposit “coral” /ˈkᴅrl/ and the proper name “Carl” /kɑːl/, which have slight differences in both spelling and sound. In the DV, the strategy of literal translation has been adopted and the same noun, “coral”, is used to remember the proper name, “Carl”. This option is possible in this target version since the Spanish language also shares the same similarities, so the pun is based on the paronymy of these two words. According to the classification proposed by Delabastita (1996:134), the outcome of the translated pun is PUN ST = PUN TT, since the same resource is used in both versions. In the SV, the translator uses the same strategy, but changing the name the character needs to remember, to Paul /pɔːl/ instead of Carl. In order to maintain this humorous L element, it is necessary to change the final word, which is similar to Paul. The translator manages to find one with the use of the proper name of the car “Polo”. This is the reason why 244 the s/he chooses to eliminate the previous humorous effect in order to maintain it here. In this case, the translation strategy is adaptation (Fawcett, 1997), since the translator finds another way of transmitting the humorous content. Another element can be found in the OV, which is the CI element. The character mentions two American groups, “Grateful Dead” and “Phish”, which are known among the source audience. However, the Spanish audience may not identify these names as corresponding to music bands. In the DV, these references are maintained, so there is a loss in the humour load, since the audience does not understand what Phil is referring to. In contrast, this CI element is transmitted to the SV because another example is used. Phil mentions a well-known car make, Volkswagen, and a recognisable model, Polo, to illustrate his mnemonic. It is also important to point out that, although the subtitles transmit the main idea from the OV, they are shorter than the actor’s intervention, so the solution given fits in with the space and time limit, and fulfils the subtitling constraints. Example 39 Season 2, Strangers on a treadmill 00:39-00:49 Phil: Now, for the last five years Gil Thorpe has hosted but, as luck would have it he’s having a sketchy-looking polyp removed so they’ve asked me to fill in. Humorous elements: L 245 DV: Phil: Los últimos cinco años lo ha presentado Gil Thorpe, pero por fortuna le están estirpando un pólipo muy sospechoso, así que me ha pedido a mí que le “filistuya”. SV: Phil: Los últimos cinco años,/ la ha presentado Gil Thorpe...// pero, cosas del destino...// le van a quitar un pólipo muy feo...// y me han pedido que hable/ ante los “filiados”./// Humorous elements: L Humorous elements: L Cognitive background:  Contextual case (CC): 1. Phil is hosting a meeting and he is substituting the person who usually does it, because he has to undergo surgery. Comments: In this scene the humour load is based on a L element. In the OV, the pun is based on the same pronunciation of the pair of words Phil-fill. Humour is achieved through the two homophonous words (Nash, 1985:138), the character’s own name “Phil” /fɪl/ and the verb “to fill /ˈfɪl/”. In the case of the DV, the translator uses a non-existent word that mixes the sound of the name Phil, /fɪl/, with the word “sustituya” (substitute), obtaining the word “filistuya”. This resulting word shares some similarities to the Spanish word “fístula” (fistula), so this can also be a source of humour, due to the meaning of this word –abnormal connection between two body parts (MedlinePlus, accessed in February 2020)– and knowing that the relationship between the character and the mentioned Gil Thorpe is not good; so we could compare it with this medical concept. This 246 pun is therefore a portmanteau (Nash, 1985), since a new word is obtained due to the blending of two distinct forms. The translation strategy is adaptation (Fawcett, 1997), since the translator chooses another way of transmitting the humorous effect to the DV. According to the classification proposed by Delabastita (1996:134), the outcome of the translated pun is PUN > PUN, since, although the humour load is transferred, the OV pun is different from the DV one. In the case of the SV, the translator finds an existing word, which contains the sound of the name “Phil” –as in the DV– and which fits in with the context. This is the reason why the word “filiado” (someone who belongs to a society or specific group) is used. It can be considered a kind of a homophone (Nash, 1985:138), since they are pronounced similarly. The translation strategy of adaptation (Fawcett, 1997) is adopted in this version, since the translator chooses to find an existing word that fits in the with context and the discourse. Therefore, according to the classification proposed by Delabastita (1996:134), the outcome of the translated pun is PUN > PUN, where the humorous effect is transferred, although the strategies are different from the OV. Example 40 Season 2, Strangers on a treadmill 04:05-04:09 Mitchell: So troga is treadmill yoga. Humorous elements: L 247 DV: Mitchell: El troga es el yoga en la cinta de correr. SV: Mitchell: Yinta es yoga en cinta./// Humorous elements: --- Humorous elements: L Cognitive background:  Contextual case (CC): 1. While Claire is running on a treadmill, Mitchell is doing funny movements while walking on another treadmill. Comments: The humour load in this scene is based on a L element. In the OV, the character uses a new word, “troga”, which is formed by the words “treadmill” and “yoga”. This pun is classified as a portmanteau, according to the classification proposed by Nash (1985), where a new word is created due to the blending of two other words. This creation is justified since the audience sees that the character is doing strange movements while he is walking on a treadmill, instead of using this device as it is normally used. In the case of the DV, the character uses the same word, “troga”, to define the new sport. However, the L element disappears in this version, since the term is explained in order to understand it. When this term is explained, we see there is no correlation between the word “troga” and the other words that are supposed to form it, as they are: “yoga” and “cinta de correr” (treadmill). In this sense and, according to Hurtado (2001), this translation technique is defined as descripción (description). There is, however, a possible problem, since this sport “troga” does exist in the 248 Spanish culture, it mixes the TRX sport –a form of suspension training– with the activity of yoga. The Spanish audience who are familiar with this sport could be confused when they see Mitchell walking on a treadmill, as it is not related to the sport “troga”. In the SV, the L element is transmitted, but a new word is created –“yinta”–, which mixes the words “yoga” and “cinta” (treadmill). In this case, another portmanteau is used in order to transmit the humorous effect. The translation strategy is to adapt the humorous referent to the context, although this means creating a new word that does not exist in the TL. According to the classification proposed by Delabastita (1996:134), the outcome of the translated pun is PUN > PUN, where the most important thing is to maintain the humorous element, although it is transmitted through the use of another element. Example 41 Season 2, Manny get your gun 01:37-01:44 Phil: Somebody’s still a little touchy about losing last year’s colour war. Claire: Not. Phil: She was on Team Blue or as I like to refer to them, as Team Blueser. Humorous elements: L DV: Phil: Alguien está muy picajosa por haber perdido la guerra de colores del año pasado. SV: Phil: Alguien sigue dolida por perder/ la guerra de colores el año pasado.// 249 Claire: No. Phil: Ella iba en el equipo azul o como a mí me gusta llamarle, el equipo azustado. Claire: - No./ Phil: - Ella estaba en el equipo azul...// o como me gusta llamarlo,/ el equipo lament-azulable./// Humorous elements: L Humorous elements: L Cognitive background:  Contextual case (CC): 1. Phil is explaining how much fun they had at the family camp last year because he won and Claire lost. Comments: The humour load is based on the L element. In the OV, the pun is created by means of a portmanteau, according to the classification proposed by Nash (1985), which blends the words “blue” /bluː/ and “loser” /ˈluːz/, obtaining the word “blue-ser”. This pun may be appropriate according to the context since the new word “blueser” and “loser” can also be considered paronymous (Delabastita, 1996:128). In the DV, another portmanteau is used to transmit the humorous effect from the OV. In this case, the blending is achieved through the use of the words “azul” (blue) –the team colour– and “asustado” (scared). The word obtained, “azustado”, shares a similar pronunciation with “asustado”, so the translator gets the same result, paronymy. The translation strategy is to adapt the ST by using the same resource as in the OV, but adapting it to the TL and context. Therefore, according to the classification proposed by Delabastita (1996:134), the outcome of the translated pun is PUN ST = 250 PUN TT, since the humorous effect is transferred by using the same pun and the same context. In the SV, the translator uses another portmanteau in order to create a similar humorous effect as in the OV. In this case, the blending is achieved through the words “lamentable” (pathetic) and “azul” (blue). However, the main difference with the OV and DV portmanteaux is that, in this SV, the word “azul” is inserted in the middle of the word “lamentable”, so the result is “lamentazulable”. The translation strategy chosen by the translator is to adapt the humorous element in order to keep the humorous effect in this version. According to the classification proposed by Delabastita (1996:134), the outcome of the translated pun is PUN > PUN, since the humour load is transmitted from the OV, although the pun used is different, in order to fit in with the TL and context. It is worth emphasising that in the SV and, contravening the subtitling constraints, the resulting word “lamentazulable” –six syllables– is longer than the word used in the OV –“blueser” (two syllables)– or in the DV –“azustado” (four syllables)–. This is not a common solution since the key principle in subtitling is the use of concise expressions. Therefore, in this specific case, this main rule is not followed and can be considered an exception. Example 42 Season 2, Dance dance revelation 07:17-07:20 Mitchell: All right, if she starts biting her playdates, she’s gonna be a pariah. 251 Cameron: Try “piranha.” Humorous elements: L DV: Mitchell: Si empieza a morder a sus amigos, se convertirá en una paria. Cameron: Dirás piraña. SV: Mitchell: Si muerde a sus amigos del parque,/ la marginarán.// Cameron: - Se pondrán ajos./// Humorous elements: L Humorous elements: --- Cognitive background:  Contextual case (CC): 1. Lily has bitten another child in the park and their parents are worried about her behaviour. Comments: The humour load in this scene is based on a L element. In the OV, the humour effect is created by means of two paronymous words (Nash, 1985), “pariah” /pˈraɪ/ and “piranha” /pˈrɑːn/, because, although they are different words, they are pronounced similarly. Furthermore, as Lily has bitten another child, the term “piranha” is quite appropriate in this case, since these animals are known for their harmful bites. In the DV, the translator achieves the transmission of the humorous effect by using the same paronymy as in the OV. In this version, the same pair of words are used, “paria - piraña”, obtaining the same result. The translation strategy in this case is literal translation, since the same element and strategy are used. This is a possible solution since both languages, English and Spanish, share the same referents, and they are written and 252 pronounced similarly. Therefore, according to the classification proposed by Delabastita (1996:134), the outcome of the translated pun is PUN ST = PUN TT, since the same pun and context are used in both the OV and the DV. However, in the SV the L element is utterly eliminated. Since Lily has bitten another child, they are comparing her with a vampire, which is why they choose to use the expression that states that, if she continues biting, her friends will wear garlic, with the idea of scaring her away, using the same procedure as with vampires. In this case, the SV text adopts what Hurtado (2001) calls creación discursiva (discursive creation), since the translator does not follow the same strategies as in the OV to create the humorous content. On the contrary, s/he transforms the text in order to obtain another humorous effect. Therefore, according to the classification proposed by Delabastita (1996:134), the outcome of the translated pun is PUN > RELATED RHETORICAL DEVICE, where the final aim is to keep the humorous effect from the ST in the TT, although other methods are used to achieve it. Example 43 Season 2, Bixby’s back 09:52-09:55 Phil: Pretty and smart. Or should I say “pretty smart”? Humorous elements: L 259 the scene. In the DV, the translation strategy is adaptation (Fawcett, 1997), since the translator finds an existing and paronymous word that fits in with the context and that permits transferring the humorous effect to the TL. According to the classification proposed by Delabastita, the outcome of the translated pun is PUN ST = PUN TT, since the translator uses the same element in both versions. However, in the SV, the L element disappears since we consider that the solution given does not lead to any confusion or misunderstanding and, hence, it does not create or transmit the humorous effect as it does in the OV. In this version, the translator’s decision is to use a hypernym, a recurrent strategy in subtitling, according to Díaz Cintas and Remael (2007:203): [t]he use of hypernyms, often dictated by the need for transparency, contributes to the loss of specificity that is typical of subtitling and shows that subtitlers cannot always opt for the shortest word available, since clarity may have to come first. The pair of words used in this case is “aretes” –with the meaning of pendientes (earrings)– and the non-existent word “aretes de pelo”. Although they share the same word (aretes), it is difficult for the audience to think that the character understood three different words when the other character only says one. Therefore, according to the classification proposed by Delabastita (1996:134), the outcome of the translated pun in this scene is PUN > ZERO, since the humorous effect is lost. 260 Example 46 Season 5, Suddenly, last summer 01:43-01:46 Cameron: Oh, that’s right. He leaves today. You must be a wreck. Jay: She’s not a wreck. She’s a rock. Humorous elements: L DV: Cameron: Uy, es verdad, se va hoy. Estarás destrozada. Jay: De eso nada, es una roca. SV: Cameron: Ah, claro, se va hoy./ Debes de estar deshecha.// Jay: Es dura como una roca./// Humorous elements: --- Humorous elements: --- Cognitive background:  Contextual case (CC): 1. Manny is going to Colombia and Cameron thinks Gloria is upset because he is leaving. Comments: The humour load is based on a L element. In the OV, the humorous load is based on the paronymy of two different but similar words, “wreck” /rek/ and “rock” /rᴅk/. These nouns are used to describe the character’s feelings and they show opposite moods. However, this L element disappears both in the DV and the SV, since there is no similarity between the pair of words used, “destrozada” and ”roca” in the DV, and “deshecha” and “roca” in the SV. The reason for 261 the elimination of the L element in these two cases is that the translator chooses the strategy of literal translation, substituting each noun with the respective word in Spanish. Thus, in Delabastita’s terms (1996:134), the outcome of the translated pun in these cases is PUN > ZERO, since the humorous effect is lost in both Spanish versions. Example 47 Season 5, Larry’s wife 00:33-00:38 Phil: Diane, you’re not gonna be alone, you’re gonna get a loan. Humorous elements: L DV: Phil: Diane, no vas a estar sola. Vas a estar hipotecada. SV: Phil: Diane, no vas a estar sola.// Vas a conseguir una hipoteca./// Humorous elements: --- Humorous elements: --- Cognitive background:  Contextual case (CC): 1. Phil is helping divorced women find a house, so he meets them at open houses, trying to convince them to buy them. Comments: The humour load is based on a L element. In the OV, the humorous load is achieved through the use of a homophonic phrase, according to the classification proposed by Nash (1985). The words that are used in this pun are the adjective “alone” /ˈlʊn/ and the indefinite article together with a noun “a loan” / lʊn/, which are pronounced just the same but whose 262 meaning is different. In both the DV and the SV, however, this L element disappears. In these cases, “sola” and “hipotecada / hipoteca” are the words chosen, which do not have anything in common with each other. The reason why the L element is not transmitted in the two Spanish versions is that the translator chooses the strategy of literal translation, so s/he translates the text word for word, without bearing in mind the humorous component that is included in the OV. Therefore, in Delabastita’s terms (1996:134), the outcome of the translated pun in these cases is PUN > ZERO, since the humorous effect is completely lost. Example 48 Season 5, The big game 00:39-00:46 Phil: Because there is no “done” in “Dunphy”. I’ll see you guys at the game. Children: Umph! Phil: Hey, there is no “umph” in “Dunphy”. Different spelling. Humorous elements: L DV: Phil: Porque un Dunphy nunca se acaba. Nos vemos en el partido. Hijos: ¡Ah! Phil: Eh, no hay ningún “anf” en Dunph. Se escribe distinto. SV: Phil: Porque un Dunphy/ nunca tira la toalla.// - Nos vemos en el partido./ Hijos: - ¡Uf!// Phil: Oye, un Dunphy nunca dice “uf”./ Ni siquiera es una palabra./// 263 Humorous elements: L Humorous elements: --- Cognitive background:  Contextual case (CC): 1. Phil is saying to his children that they should not quit activities. Comments: The humour load is based on some L elements. In the OV, the character uses two homophonous words (Nash, 1985) in order to create humour in this scene. The words used share the same sound but have different meanings, and they appear within the same sentence: “there is no “done” /dʌn/ in “Dunphy” /ˈdʌnfɪ/”. In this case, humour is also achieved through the irony that appears between what the character says and reality, which are completely different, although the pronunciation of “done” is indeed included in his surname. The same case appears when his children use the onomatopoeic word “umph” /ʌnf/ to express incredulity, and the character states that “there is no “umph” in ‘Dunphy’”, when, again, this sound is also included in his surname, so the pun is based on homophony. Finally, the character realises and justifies himself by saying that the spelling is not the same. The first homophony that appears in the OV is neutralised and disappears in the DV. Furthermore, the expression used in Spanish is a bit forced: “un Dunphy nunca se acaba” (a Dunphy is never finished), since it does not sound natural in Spanish to say that a person can be finished. Regarding the last homophony that appears in the OV, the solution in the DV is also a bit forced, since the character replaces the onomatopoeia his 264 children say, “ah”, by “anf” to fit the pronunciation of his surname “Dunphy”; although the onomatopoeia Phil uses in Spanish is not even recognisable in this language. Due to this change in the onomatopoeia, the solution given: “no hay ningún “anf” en Dunph” maintains the homophony, as in the OV. This translation strategy of literal translation allows the transference, in some way, of the humorous effect to the Spanish version. Therefore, the outcome of the translated pun that Delabastita (1996:134) describes could be PUN ST = PUN TT, since the translator uses the same pun and the same context as in the OV. However, in the SV, the humorous content is eliminated. In this case, the translator does not find a suitable option to fit in with the context and maintain the humour of the OV. The translation technique of elisión –elision– (Hurtado, 2001), which entails the elimination of the elements included in the ST, leads to the outcome of the translated pun PUN > ZERO, so the humorous effect is lost in the subtitling. Example 49 Season 5, And one to grow on 18:36-18:39 Phil: But you were preg-tically engaged to me by then. Humorous elements: L DV: Phil: Pero estabas embarazaprácticamente comprometida conmigo. SV: Phil: Pero estabas emb-astante cerca de casarte conmigo. 265 Humorous elements: --- Humorous elements: L Cognitive background:  Contextual case (CC): 1. The whole family is talking about how long it took them to fall in love with their partners. When Phil asks Claire, she says six months after meeting him, although she was already pregnant. 2. Phil tries to avoid saying this , because their children do not know that they got pregnant before they got married. Comments: The humour load is based on a L element. In the OV, the humorous effect is achieved through a portmanteau, in Nash’s terms (1985), between the words “pregnant” and “practically”, resulting in the invented word “pregtically”. The resulting word mixes the previous two, so, instead of saying /ˈpræktɪkli/, the character ends up saying /ˈpregtɪkli/, which has a very similar pronunciation to the existing word; therefore, they can be considered paronymous words (Delabastita, 1996:128). In the DV the pun disappears, so, according to the classification proposed by Delabastita (1996:134), the outcome of the translated pun in this version is PUN > ZERO, since the humorous effect is lost. In this case, there is only one syllable “-da” that is not pronounced from the word “embarazada” and it is substituted by “prácticamente”, a word that does not share any feature with the previous one, and is not blended with any other word, either. Here, the translator has chosen the strategy of literal translation in order to transmit the information. However, this translation strategy does not permit transferring the humorous effect to the Spanish 266 text. In the SV, however, the same pun as in the OV is used to maintain the humour load. In this case, another portmanteau appears to keep the humorous effect. The translator mixes “embarazada” (pregnant) with “bastante” (quite), resulting in “embastante”. It is a very creative and appropriate solution, since the humorous element is transmitted from the OV to this version, and the audience can appreciate the character’s selfcorrection with the play on the two words that are easily identified. Therefore, the outcome of the translated pun is PUN ST = PUN TT, since the same pun and the same context are shared in the ST and in the TT. Example 50 Season 5, Other people’s children 10:18-10:24 Phil: Why am I so intent on helping Andy? I love filmmaking, and I love love. I guess you could say I enjoy making love on film and now I don’t have to do it by myself. Humorous elements: L DV: Phil: ¿Por qué estoy tan empeñado en ayudar a Andy? Me encanta hacer películas y me encanta el amor. Podría decirse que me gusta hacer el amor en películas, así no tengo que hacerlo yo solo. SV: Phil: ¿Por qué me vuelco en ayudar a Andy?// Me encanta hacer cine/ y me encanta el amor.// Podría decirse que me gusta/ hacer el amor en las pelis…// y ya no tengo que hacerlo solo./// 267 Humorous elements: L Humorous elements: L Cognitive background:  Contextual case (CC): 1. Andy wants to send a romantic video to his girlfriend and Phil is helping him, since he likes shooting home videos. Comments: The humour load is based on a L element. The character wants to say that he is romantic and that he can share some ideas with Andy to impress women. The words and expressions he uses create a humorous scene because of their double meaning, although he does not realise this. In the OV, the humorous effect is achieved through the use of a homonymic phrase, according to the classification proposed by Gottlieb (1997b:213). The character mentions two things he loves, filmmaking and love. However, when he combines the two ideas in a single sentence: “making love on films”, this leads to an expression with a sexual double meaning. Although the character means “making love films”, what he ends up saying is that he loves to be filmed while he is having sex, as understood by the audience. He finishes his unfortunate speech saying that he used to do it on his own, but now he has Andy to do it with, information that supports that idea even more. In the DV and the SV, the solution given by the translator is very similar in both cases and it copies the same pun as in the OV, using a homonymic phrase. In the DV, it says, “hacer películas” (to film) and “el amor” (love), and the final expression is “hacer el amor en películas” (to 268 make love in films). In this case, the expression “hacer películas” is a bit forced since “hacer” is not the best verb to use with the noun “películas”. A more appropriate verb could be “filmar”, “grabar”, “rodar”, but we understand the translator’s choice, since it is necessary to use the verb “hacer”, as it is the same verb that is used afterwards in the final expression: “hacer el amor en películas”. Although in this case the translation strategy is literal translation (Fawcett, 1997), the humorous content is transmitted to this version. Therefore, according to the classification proposed by Delabastita (1996:134), the outcome of the translated pun is PUN ST = PUN TT, since the same pun and the same context are used in both texts in order to maintain the humorous effect. In the SV, the strategy chosen is similar to the one in the OV, the use of a homonymic phrase. The character says “hacer cine” (to film) and “el amor” and he finishes saying “hacer el amor en las pelis”. Although we acknowledge that the expression “hacer cine” is more suitable and correct than the expression used in the DV, “hacer películas”, we understand the final expression is clearer in the DV than in the SV, as in this SV, the noun from the first expression “cine” changes to “pelis” in the final one. Despite “cine” and “pelis” belonging to the same semantic field, the homonymic phrase could be clearer, and the humorous purpose would be more direct if the same words were maintained. In this case, the outcome of the translated pun is PUN ST = PUN TT, since the same element and context are used in both the OV and the SV texts. 275 Humorous elements: --- Humorous elements: --- Cognitive background:  Contextual case (CC): 1. Cameron makes Mitchell feel bad, blaming him for them losing the match. Finally, they win and Cameron phones Mitchell to say sorry. Comments: The humour load in this scene is based on a L element. In the OV, the humorous effect is based on a homonymic phrase, in Nash’s terms (1985), where some words have the same spelling and sound, but different meaning. In this case, the phrase “I’m on the fence” can be understood in two different ways. On the one hand, the meaning Cameron understands –Mitchell cannot decide whether to stay and watch the match, or leave the football field– and, on the other hand, the literal meaning of the expression –as the audience sees it, Mitchell is literally stuck “on the fence”–. It can also be mentioned that the expression used, “the fence” /ð fents/, consisting of the definite article “the” and the noun “fence”, recalls the noun, “defence” /diˈfents/ –with the meaning of the strategy followed in a law case– and can be associated with Mitchell’s job, as he is a lawyer. This L element disappears in the DV and the SV, since there is no pun involved in either. In the DV, there is no correlation between “estoy en la valla” (I am on the fence) and the answer “no te culpo” (I don’t blame you), or the option given in the SV “no sé qué hacer” (I don’t know what to do) and the same answer as in the DV, together with the image of 276 Mitchell on a fence. Apart from this linguistic misunderstanding, the audience sees that Mitchell is stuck on a fence and that there is no imagespeech correlation. In these cases, the strategy of literal translation (Fawcett, 1997) causes the humorous effect to disappear in both Spanish versions, so the outcome of the translated pun is PUN > ZERO, in Delabastita’s terms (1996:134). Example 55 Season 6, Won’t you be our neighbor 13:11-13:15 Phil: Let’s off that top, Lisa. Let’sLet’s top that off, Lisa. Humorous elements: L DV: Phil: Vamos a quitarte la ropa, Lisa. Uy, vamos a llenarte la copa, Lisa. SV: Phil: Vamos a quitarte la ropa, Lisa.// Digo, vamos a llenarte la copa, Lisa./// Humorous elements: L Humorous elements: L Cognitive background:  Contextual case (CC): 1. Phil and Claire invite the couple who are interested in buying the house next door to convince them to do it. However, they are not conscious of the way they are treating them. Comments: The humour load is based on a L element. In the OV, the humorous effect is achieved through the use of a mimetic phrase, according to the 277 classification proposed by Nash (1985), when the character says, “Let’s off that top” –with the meaning of taking off the top–, instead of the phrase that the character means to say, “Let’s top that off” –talking about refilling the glass of wine they are drinking–. The humorous content of these two phrases depends on their similarity, since the same words are used in both of them, although in a different order. This inversion in the order of the words leads to a completely different meaning. In the DV and the SV, the solution the translator proposes is exactly the same in both versions. The humorous effect is also based on a mimetic phrase, “vamos a quitarte la ropa”, instead of “vamos a llenarte la copa”. The difference with the OV is that the mimetic phrase is not based on the order of the words in the sentences –which are the same–, but on the similar pronunciation of the words that are included in each one. The first paronymy, in Delabastita’s terms (1996:128), is found with the pair of verbs “quitarte” and “llenarte”, which share the same endings (-arte). The second paronymy arises from the nouns “ropa” and “copa”, since the only difference between these two words is their first letter. After analysing the puns used in the OV, and in the DV and the SV, the translation strategy that the translator chooses is to adapt (Fawcett, 1997) the ST to the Spanish language, and to the context and images the audience is seeing. However, the translator succeeds in transmitting the humorous effect to the DV and the SV, so the outcome of the translated pun is PUN > PUN, according to Delabastita’s classification (1996:134). 278 Example 56 Season 6, Queer eyes, full hearts 02:05-02:11 Jay: Stayed in active duty 84 years. No enemy managed to board her. Gloria: Ten seconds, she’s already bored me. Humorous elements: L DV: Jay: Estuvo en activo 84 años y ningún enemigo logró abordarlo. Gloria: Pues en 10 segundos ya me ha aburrido a mí. SV: Jay: Estuvo en activo 84 años.// Ningún enemigo logró abordarlo.// Gloria: En 10 segundos,/ ha logrado aburrirme./// Humorous elements: --- Humorous elements: --- Cognitive background:  Contextual case (CC): 1. Jay is talking about a ship, the USS Constitution and how impressive it was. Comments: The humour load is based on a L element. In the OV, the humorous effect is achieved through the use of two homophones, “board” /ˈbɔːd/ and “bored” /ˈbɔːrd/. The main characteristic of homophony, according to the classification proposed by Nash (1985), is that two words, which are written in a different way –different spelling–, have identical sounds, as in this case. However, the L element disappears in both the DV and the SV. The 279 translator chooses to use the strategy of literal translation, translating the text word for word, so the humorous effect is utterly lost in these two Spanish versions. According to the classification proposed by Delabastita (1996:134), the outcome of the translated pun is PUN > ZERO, since there is no pun in the pair of verbs used, “abordar” and “aburrir”, as they are not even similar. Example 57 Season 6, Three turkeys 06:07-06:10 Claire: Con-garage-ulations. Humorous elements: L DV: Claire: En-garaje-buena. SV: Claire: Enhorabuena morena. Humorous elements: L Humorous elements: --- Cognitive background:  Contextual case (CC): 1. Claire and Alex are jealous because Phil and Luke are always having fun while they must be responsible for the rest of the family. Since Phil and Luke are preparing Thanksgiving dinner, they decide to have some fun together. Comments: The humour load is based on a L element. In the OV, the pun that creates the humorous effect is a portmanteau, according to the classification proposed by Nash (1985), resulting from the blending of two distinct 280 words, “congratulations” /knɡrætʃuˈleɪʃnz/ and “garage” /ˈgærɑːʒ/, giving rise to “congarageulations” /kngærɑːʒuleɪʃnz/. It is a very innovative and appropriate solution to insert a word in the middle of another. Besides, the resulting word mixes both the name of the location where the scene is taking place and another related to the conversation the characters are having. Furthermore, the resulting word “congarageulations” has a similar pronunciation to the original one “congratulations”, so they could also be considered paronymous, in Delabastita’s terms (1996:128). In the DV, the resource used is the same as in the OV. The translator chooses to use the strategy of literal translation and the same pun, a portmanteau, to transmit the humorous effect as in the OV. The resulting word “en-garaje-buena” is a blending from “enhorabuena” and “garaje” –the same words as in the ST–. Thus, according to the classification proposed by Delabastita (1996:134), the DV’s outcome of the translated pun is PUN ST = PUN TT, since the same element and context are used in both versions. However, we observe a small difference in the OV solution, where the resulting and the original words do not share as many similarities as the words used in the OV and, consequently, they cannot be considered paronymous. In the SV, this L element disappears in “enhorabuena morena”. The only reason for this option is that both words have the same ending (-ena), so they rhyme. In this case, the outcome of the translated pun is PUN > ZERO, as the humorous effect is lost. 281 Example 58 Season 6, Haley’s 21 st birthday 04:27-04:30 Manny: Yes. The stork brings them. Lily: This dork? Manny: Good stuff. Humorous elements: L DV: Manny: Sí, los trae la cigüeña. Lily: ¿Esta cigüeña? Manny: Muy bueno. SV: Manny: Sí. Los trae la cigüeña.// Lily: - ¿Y este se le cayó?/ Manny: - Muy bien./// Humorous elements: --- Humorous elements: H Cognitive background:  Contextual case (CC): 1. Lily asks Manny and Luke where children come from. Comments: The humour load in the OV is based on a L element. In the OV, the humorous effect is achieved through the use of two homophonic phrases, according to the classification proposed by Nash (1985), whose meanings are different. The pair of phrases used in this scene are formed by the structure “definite article + noun” –“the stork” /ð ˈstɔːk/– and the structure “demonstrative + noun” –“this dork” /ðɪs ˈdɔːk/–; they both have a very similar pronunciation, although their meanings are completely different. However, in the DV, the humorous element is omitted and the only reference made is when the character compares Luke with a stork. In this 282 case, the outcome of the translated pun, in Delabastita’s terms (1996:134), is PUN > ZERO, as the humorous effect is lost. This is due to the fact that the translator chooses to adapt (Fawcett, 1997) the ST to the TL and decides to associate the name of this type of bird with the adjective fool or idiot. In the SV, the L element disappears and is replaced with a H element. In the series, Luke is portrayed as a dumb boy, so when they talk about where children come from, they justify why Luke is not smart, because the stork dropped him. In this case, the SV makes reference to the same idea that is presented in the OV, i.e., the character is a dork. However, instead of using a L expression or element to portray the character, the question “¿Y este se le cayó?” means the same as the adjective used in the OV, “dork”. The translation technique is what Hurtado (2001) calls creación discursiva (discursive creation), since the translator creates a new sentence in order to maintain the essence of the ST and, therefore, the humorous effect. According to Delabastita’s classification, this outcome of the translated pun is classified as PUN > RELATED RHETORICAL DEVICE, since this method replaces the ST pun with another rhetorical device. Hence, the exact pun is not transmitted, although the final aim, which is to keep the humorous effect from the ST, is achieved. Example 59 Season 6, Haley’s 21 st birthday 05:00-05:18 Mitchell: There is a lot of pressure when one is a gay uncle. Cameron: Or “guncle.” 283 Mitchell: Giving a gift to a niece as hip and chic as Haley. Cameron: In the 10 years that we’ve been together, we’ve only missed the mark one time. Mitchell: Yeah, when Claire told us what to buy. But we learned our lesson, ignore Claire and trust our gay instincts. Cameron: Or ginstincts. Mitchell: Too much. Humorous elements: L DV: Mitchell: Hay mucha presión cuando eres un tío gay. Cameron: O “tigay”. Mitchell: Y das un regalo a una sobrina tan moderna y chic como Haley. Cameron: En los 10 años que llevamos juntos, solo hemos fallado una vez. Mitchell: Sí, cuando Claire nos dijo qué comprar. Pero hemos aprendido la lección. Ignorar a Claire y fiarnos de nuestro instinto gay. Cameron: O “insgay”. Mitchell: Te has pasado. SV: Mitchell: - Hay mucha presión si eres un tío gay--/ Cameron: - O “tigay”.// Mitchell: Y le haces un regalo/ a una sobrina tan moderna.// Cameron: Llevamos 10 años juntos/ y solo fallamos una vez.// Mitchell: Cuando Claire nos dijo qué comprar./ Lección aprendida- -// pasar de Claire/ y seguir nuestro instinto gay.// Cameron: - O “instigay”./ Mitchell: - Demasiado./// Humorous elements: L Humorous elements: L Cognitive background:  Contextual case (CC): 1. Mitchell and Cameron invent some words that include the noun gay. 284 Comments: The humour load is based on the L element. In the OV, the humorous effect is achieved through the use of two portmanteaux, according to the classification proposed by Nash (1985). The first one is “guncle”, an invented word that blends the adjective “gay” with the noun “uncle”, as explained previously by Mitchell. The second portmanteau in this scene is “ginstincts”, a blending from the words “gay” and “instincts”, which is also previously explained by Mitchell during the scene. In the DV, the translator chooses the strategy of literal translation in order to transmit the humorous effect to this Spanish version. In this case, the same puns, two portmanteaux, are used to create humour. The first one blends the noun “tío” (uncle) with the adjective “gay” to form the word “tigay”. The second portmanteau is a blending of the noun “instinto” (instinct) and the adjective “gay”, resulting in “insgay”. In these two cases the outcome of the translated pun is PUN ST = PUN TT, in Delabastita’s terms (1996:134), since the translator uses the same pun and the same context in both the ST and the TT. In the SV, the translator also chooses the strategy of literal translation to maintain the humorous effect of the OV, so another two portmanteaux are used for this aim. The first one is a blending of the noun “tío” and the adjective “gay” resulting in “tigay”, which is the same solution as in the DV. The second portmanteau blends the noun “instinto” with the adjective “gay”, obtaining the word “instigay”. In this case, the latter portmanteau differs from the one used in the DV only in the number 291 (1996:134), since the humorous effect is lost in this version. In the SV, although the humorous content also disappears, the resource used differs from the DV. In this case, instead of using the “noun + adjective” structure, the translator chooses to replace the reference to the character’s mood with a nickname. Hence, the translation for “grumpy grandpa” is “el gruñón”, whereas the translation for “funny grandpa” is “el divertido”. The translator chooses the strategy of adaptation (Fawcett, 1997) in order to transmit the text to the SV, and this implies that s/he does not manage to transmit the humorous effect to this Spanish text. Thus, the outcome of the translated pun is PUN > ZERO. Example 63 Season 6, Knock ‘em down 10:13-10:16 Mitchell: Oh. What comes before part “B”? Partay! Humorous elements: L DV: Mitchell: Oye, ¿qué viene después del calentamiento? ¡Fiesta! SV: Mitchell: ¿Esta noche hay una qué?// ¡Fiesta!/// Humorous elements: --- Humorous elements: --- Cognitive background:  Contextual case (CC): 1. Mitchell, Gloria and Haley are drinking at Mitchell’s before going out to a club. 292 Comments: The humour load is based on a L element. In the OV, the humorous effect is achieved through the use of paronymy, according to the classification proposed by Delabastita (1996:128). This pun arises from the similarity between the noun “party” /ˈpɑːti/ and the structure “part a” /ˈpɑːt eɪ/. This paronymy is presented like a riddle since the character asks what comes before “part b”, which is “part a”. Furthermore, the noun “partay” can also be defined as a slang word used among young people to refer to a wild or outrageous party that may involve alcohol, drugs, etc. However, taking into account that the characters involved in the scene do not belong to the category of young people, we assume that the character uses the technique of a riddle as a pun. In the DV, the L element disappears and the humorous effect is lost. In this case, the translator chooses the technique of creación discursiva –discursive creation– (Hurtado, 2001). However, this translation does not include any trace of humour, since the concept of “calentamiento” (warmup), and asking about what comes after it, leads the audience to think of some kind of physical exercise or sport, but not of going out and celebrating a “fiesta” (party). Therefore, the outcome of the translated pun is PUN > ZERO, in Delabastita’s terms (1996:134). In the SV, the translator also chooses to use the technique of creación discursiva –discursive creation– (Hurtado, 2001), since the subtitled text is completely different from the ST, and transmits new information that does not appear in the OV. In this case, the character only 293 asks a rhetorical question, whose answer is “fiesta” (party), as revealed by the visual information on screen. Therefore, the outcome of the translated pun in this version is PUN > ZERO (Delabastita 1996:134), since the humorous effect is lost, as in the DV. 5.2.1 Conclusions of “Language” examples In the previous 42 examples, those cases in which humour is mainly achieved through the use of the language are analysed, so they include “verbal humour”, as Chiaro (1992) defines it. These examples prove that humour is the most important element around all the decisions taken, in order to maintain and transmit it from the OV to the DV and the SV. Humour plays an important role in the OV and, therefore, it should be the same in the DV and the SV to fulfil the main requirements of this type of texts. If all the examples are considered as a whole, we verify that the Spanish texts meet the same requirements as the ST. The translator’s role was to transmit as much humour load as possible to the TTs. Proof of this affirmation is that of the 42 examples analysed, in 29 –which represent 69.05%–, humour is transferred to one of the TTs or to both of them (DV and SV). However, the translator was not able to transfer humour from the OV in only 12 of the cases. This means that in those examples, humour disappears and the humorous content is lost in both the DV and the SV. These 12 examples represent 28.57%, a fact that evidences that the translation process fulfils the characteristics that define this type of texts. 294 Apart from the previous data, there is one case –which represents 2.38%– in which humour is created in the SV, although it does not appear in the DV or the OV, in an attempt to compensate other losses during the translating process. Regarding the examples that transfer humour to the TTs, they can be classified into different groups depending on the cases that transmit humour to both the DV and the SV, or only to either the DV or the SV. In the examples analysed, of the 29 cases in which humour is maintained in both or either of the TTs, 16 keep the humour load in the DV and the SV –which represents 38.10%–. In eight of the abovementioned 29 examples, the humour load is only transmitted to the DV and is lost in the SV –this fact represents 19.05%–; and in five cases, the humour load is transmitted to the SV and is lost in the DV –which represents 11.91%–. From all these data, it can be concluded that the main aim of this kind of texts, which is to amuse and entertain the audience through the use of humour, is maintained. However, the following step should be to study whether the elements and puns used in the OV are the same in the DV and the SV or not, and, in this latter case, what other strategies are applied. On the other hand, in relation to the humour losses, the elements, puns and strategies, which were impossible to transmit, are detected, and the reasons for this, explained. The study starts with those examples that maintain humour in both the DV and the SV. As stated before, there are 16 examples that belong to this category, although the elements and puns are not the same as the ones 295 used in the OV in all of them. There are some examples (24, 26, 27, 28, 30, 32, 33, 39, 41, 50, 55, 59 and 60) that keep exactly the same elements and puns as in the OV. With the exception of examples 30 and 33, in the rest of the cases, the element they all have in common is the L element. However, in these specific examples, 30 and 33, the elements involved in the creation of humour are L and V, since what is said is based on what the audience sees and, due to these two elements, the humorous scene is completed. In examples 22, 23 and 38, however, there are some changes in the elements used, if we compare them to those in the OV. These changes are different depending on the example, and do not involve modifications in all versions. In examples 22 and 23, the L element is lost in the DV and SV (Example 22) and only in the DV (Example 23). However, in Example 38, the CI is lost in the DV, since the translator could not find other referents that could be understood and recognised by the audience, as in the SV. Regarding those eight examples in which humour is only maintained in the DV, and lost in the SV (Examples 29, 42, 43, 44, 45, 48, 51 and 57), a classification is made, dividing the examples up into those that do not modify the puns with respect to the OV, and those that change the puns in the DV, since the element used in all these eight examples is L. In these examples, however, the translator could not find an appropriate solution to maintain humour in the SV. Examples 42, 45 and 57 use the same puns as in the OV, in their respective DV texts. However, in Examples 29, 43, 44, 48 and 51, the strategy used to maintain the humour load in the DV is different to the OV, and therefore, the puns used are different in each 296 version. There are another five examples in which the humour load is transmitted, but only to the SV, with its subsequent loss in the DV (Examples 35, 36, 40, 49 and 58). From these cases, the element and strategy used in the SV only differ from the OV in Example 58. In this example, the L element of the OV, with the use of two homophonic phrases, is replaced in the SV by a H element with the use of the discursive creation technique. Although the TTs maintain most of the humorous content from the OV, as explained before –29 examples (69.05%)–, there are some cases where it was not possible to transmit any of the humorous elements and puns to either of the target versions –12 examples (28.57%)–. These examples are numbers 25, 31, 34, 46, 47, 52, 53, 54, 56, 61, 62 and 63. In all these examples, the element used is L, with the exception of Examples 54 and 61 where the V and CI elements also appears, respectively, in addition to the L element. This is done through a cultural referent which is very common in the United States, but not so much in Spain. Regarding the puns that have been lost in the abovementioned examples, we find lexical homonymy –lost in three examples (25, 52 and 61)–, paronymy –lost in another three examples (46, 53 and 63)–, homophony –lost in three examples (47, 54 and 56)–, portmanteau –lost in two examples (34 and 62)–, and mime –lost in one example (31)–. All this demonstrates the difficulties that the translator has to face during the translating process and, specifically, when s/he translates verbal humour. 297 This type of humour entails some specific complications that may cause, as occurs in those cases, a loss of the humorous content. In order to compensate for that loss, the translator finds other resources that may reduce the percentage of those cases. This is called compensación (compensation) and is defined by Hurtado (2001:634) as the strategy which “consiste en introducir en otro lugar del texto un elemento de información o un efecto estilístico que no ha podido reflejarse en el mismo sitio en que está situado en el texto original”. This is the case of Example 37, in which humour is only created in the SV. In this example, the elements used are L and CI. 298 6. FINAL CONCLUSIONS The last chapter of this doctoral thesis takes a look back at the analysis of the corpus in order to comment on the results obtained throughout the study. The main objective was to detect the humorous elements included in the three versions analysed, compare them, and discuss the different changes, if any, made by the translator in the Spanish DV and SV. Thanks to the good acceptance of this American sitcom in Spain, it was assumed that the main features of the genre, which define these kinds of texts, would be transmitted to the translated versions, since it was also classified as a sitcom in the target country. Therefore, it fulfils the key principles of any situation comedy, that is, to entertain the audience through the use of humour. On this basis, the aim of the study was to recognise, select and comment on any changes or modifications made to the humorous strategies used in the OV when facing the task of translating the text into the Spanish versions. Apart from the adaptations, which are necessary to comply with the requirements of the target culture, the translator also had to bear in mind the specific restrictions associated with the dubbing and subtitling processes, which give shape to the final text. Despite the possible difficulties the translator may have found, the final texts preserve a high percentage of the humour load from the source version (69.84% –representing 44 out of the 63 examples analysed–). This figure indicates the excellent job carried out by the translator to obtain a final text that maintains a similar dialogue, with a similar humour load, and that could be 299 accepted by the target audience as an OV. The translator, in this case, not only has to know the SL and the TL, but must also have a good knowledge of the source and target cultures; in other words, the translator shows both bilingual and bicultural knowledge. Other data extracted after the analysis refer to the percentage of humour load lost during the translating process –26.98%, representing 17 out of the total of 63 examples–. Moreover, there is one case of compensation in which the translator creates humorous content in the SV that does not exist in the OV –1.59%–. This strategy is an attempt to reduce the total loss of humour. Validation of hypothesis and analysis of results By means of the data compiled during the research and the subsequent analysis of the examples selected from the corpus, some of the concepts that define audiovisual translation can be indicated. Audiovisual translation has to be considered and studied independently of other types of translation studies. It must be borne in mind that audiovisual texts comprise both visual and auditory components, so the audience receives the information through two different channels at the same time. This feature makes the translation process an even more arduous task, since during this process, synchrony is a key factor that determines the decisions taken. As the focus of the study was to analyse the strategies and solutions 300 offered by the translator, the different elements involved in each example had to be categorised. In order to do so, the classification proposed by Martínez Sierra (2004, 2008) has been used. Thus, it is possible to contrast the modifications made in both the DV and the SV, comparing them with the ST. This comparative process has helped to discover the most common problems the translator had to face, not just in terms of linguistic barriers that could appear, but also in terms of other cultural obstacles that might exist between the pair of cultures considered in this study. As mentioned earlier, the cultural barrier that exists with the American culture could be blurred due to the globalisation process that has spread over the last decades, with the import of a large quantity of audiovisual products that has favoured cross-cultural interchange. The corpus selected to develop the study, Modern Family, is identified by the variety of characters who are part of the cast and who form an eclectic group. This is the reason that led to the extraction of humorous examples related to the different stereotypes that appear in the seasons selected for the analysis, as each character of the corpus develops his/her own personality, as in real life, with their own beliefs, dreams, future expectations, fears, good and bad moments, etc. The study is, therefore, based on those good and hilarious moments, tapping into the diversity in age, sex, race and culture, to examine the different opinions that these social groups have of others and of themselves, using stereotypes that have already been recognised and accepted by society in general. It must also be 307 that has spread over the last decades, preventing the need to change or adapt every imported referent. There are eight cases in which the Visual (V) element shares the humour load with others, mainly the L element (Examples 13, 15, 18, 22, 30, 33, 36 and 54). It does not entail any difficulty for the translator, as images are immutable, and it is the text that has to be adapted to fit in with what the audience is seeing. Moreover, reality shows that practically all the non-verbal communications are understood in the same way by both audiences provided they share a similar cultural background. Apart from these data, in four of the eight examples, the V element is maintained in both the DV and the SV (Examples 15, 22, 30 and 33), in three examples it is lost in the DV and the SV (Examples 13, 18 and 54), and in one example, it is lost only in the DV (Example 36). The Sound (S) element only appears in one example (Example 36) and supports others such as the L and V elements. As previously stated, the study focuses on verbal humour, so this element does not offer much information to our research. As with the previous element, the Community Sense of Humour (CSH) element only appears in one example (Example 23). Although it is associated with a specific social group, it is transmitted to both the DV and the SV. This referent is also recognised and accepted in the target culture, so it can be perfectly understood. Apart from the above elements suggested by Martínez Sierra (2004, 2008), it was necessary to create and incorporate another one, Hotchpotch 308 (H), in order to classify those examples that do not fit in with the other categories, and that need to be included in a more general, or not so specific, classification. There is only one example that satisfies these requirements (Example 58), and that is because the translator could not transmit the homophonic phrases, opting to use the “discursive creation” strategy in the SV in order to maintain the humour load. Although the percentage of elements transmitted from the ST to the TTs is high, there are also some humour losses (26.98%, accounting for 17 out of the 63 examples analysed), which take place during the translation process. Considering these data, these 17 examples indicate that the humorous content is not transmitted in any way to either the DV or the SV. This proves that translating humour is possible in all the versions analysed, and that the corpus does not lose much of its humorous content. Despite the excellent job carried out by the translator, we understand that there are some cases in which the transmission of humour is not possible due to the specific restrictions related to the dubbing and subtitling processes. However, in an attempt to offset these losses in some way, the translator creates new humorous content in the subtitled version when it did not exist in the ST. This humorous addition can be found in only one example (Example 37) and, specifically, in the subtitled version. In this case, it is a combination of the CI and the L elements that creates the humorous scene, which was not originally conceived in the ST. This proves that the translation process does not end with the translation of the ST, but that it also implies an important creative process, which leads to decision- 309 making that will entail the acceptance or not of the final text. Regarding the puns used to create humour, it is interesting to remark that in the majority of the cases the same puns found in the OV are adopted in both the DV and the SV, a fact that permits transferring and maintaining the humour load in the target versions. However, there are other cases in which the humorous content is lost. It is therefore important to analyse them in order to find the common denominator that explains when the translator was unable to find a solution to those cases. Besides, there are some puns that are more liable to be removed, as well as some stereotypes that experience a higher loss of humorous content. The resources in puns which are most significant in the loss of humour are the following:  The resource that is more likely to be eliminated is homonymy –5 cases out of 17 (29.41%)–. This occurs in Examples 13, 18, 25, 52 and 61.  Homophony is another resource that is eliminated in the DV and the SV –4 cases out of 17 (23.53%)–. We find it in Examples 14, 47, 54 and 56.  The third resource with a higher number of losses is paronymy –3 cases out of 17 (17.65%)–. We detect this in Examples 46, 53 and 63.  The following resource in this list is portmanteau –2 cases out of 17 analysed (11.76%)–. This occurs in Examples 34 and 62. 310  The following three types of resources are found in three examples that include one pun each. These are: malapropism (Example 4), blend (Example 7), and mime (Example 31), which represent 5.88%, respectively. These examples show the difficulties the translator faces when translating a text, and how arduous this task can be. As stated above, verbal humour also contributes to this fact, homonymy being the most frequent resource present in puns, and that represents more difficulties for the translator in this mode of audiovisual translation. When attention is focused on the stereotypes that are more likely to lose their humorous content, the most recurrent stereotypes are national and homosexual –with two examples each–, although one of the examples included in the gender stereotype also loses its humour load. The above information indicates the tendency that has been stressed throughout this research –the difficulty of translating instances of verbal humour– and how important the figure of translators and their job is in the expansion of knowledge in other languages and to other countries. Final remarks This study, in general, and the analysis of the corpus, in particular, has provided an insight into the translating tendency of this kind of genre. The results obtained indicate that the tendency in this corpus, whose key 311 principle is humour, is to transmit the highest possible percentage of humorous content to the TL. In general terms, one of the fundamental principles is to avoid losing humour load during the translation process from the ST to the TTs. This is the reason that can explain the low percentage of humorous losses detected in our research, only 26.98% (17 out of 63 examples), as stated above. Although a large majority of Spanish people choose dubbing as their preferred mode of viewing audiovisual texts, it is interesting to observe the intention to transmit the humour load to the subtitled version as well. This is evidenced by figures obtained after the analysis, which state that the SV loses the humour load in nine examples, whereas the DV loses the humour load in five examples. Despite the L element being the most recurrent, as it is distinguished by its close relationship with culture, entailing, therefore, greater difficulties for the translator, the target versions transmit this element in most of the cases. This fact can be explained because, nowadays, the American culture is quite familiar to the Spanish audience, so the latter can, in the majority of the cases, perfectly understand the referent that has been mentioned in the ST, facilitating the translation process. Another reason found that might explain the high percentage of humour load transferred to the TTs is that the study is based on stereotypes that create humorous scenes. Due to the universality of these concepts, it is easier to understand the referent that is mentioned in the ST, and the humour they create. As confirmed throughout the study, the corpus analysed is extremely 312 popular in both the source and target countries. The audience share in both countries confirms that the series reaches the audience, and this could be due to the fact that the corpus deals with common and recognisable family problems. The idea of watching a series with which the audience can identify could be a reason for its success. Another reason could be that the concept of a situation comedy is appealing and entertaining, and enables the audience to relax by watching a series that detaches them from their own reality, as an evasion from their own routines, and enjoy other people's problems. This research could be considered a starting point to continue studying audiovisual translation or, more specifically, situation comedies. It could be interesting to prove if the sitcom has been as popular in other countries, and if the high percentage of humour load, which was transferred to the Spanish versions, has also been transferred to other languages. 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Poyatos (Ed.). Nonverbal Communication and Translation (pp. 327-342). Amsterdam: John Benjamins. --- (2001b). El texto audiovisual: factores semióticos y traducción. In J. Sanderson (Ed.). ¡Doble o nada! Actas de las I y II Jornadas de doblaje y subtitulación (pp. 113-126). Alicante: Publicacions de la Universitat d’Alacant. --- (2001c). La traducción del humor en textos audiovisuales. In M. Duro (Ed.). La traducción para el doblaje y la subtitulación (pp. 251-263). Madrid: Cátedra. 325 APPENDIX The following link directs to a Google Drive page where to find the examples analysed in chapter 5: https://drive.google.com/open?id=1UdxH_TXiJYtDfnK5dL0GKqogYSZ IJ1fV. This chapter also includes other examples that, although they contain some humour load, do not offer so much information or they are not as relevant for our study as the examples included in Chapter 5. However, we think they are also important to understand and justify the great success this series, Modern Family, has had both in the source and in the target countries. Example 64 Season 1, Pilot 00:52-01:04 Claire: I just don't want my kids to make the same bad mistakes I made. If Haley never wakes up on a beach in Florida half-naked, I've done my job. Phil: Our job. Claire: Right. I've done our job. Humorous elements: L DV: Claire: Y no quiero que mis hijos cometan los mismos errores que yo. Porque... con que Haley nunca se despierte en una playa de Florida medio desnuda, habré cumplido. Phil: Habremos cumplido. Claire: Eso. Habré cumplido. SV: Claire: No quiero que mis hijos cometan/ los mismos errores que yo.// Con que Haley nunca se despierte en/ la playa medio desnuda, habré cumplido./// Phil: Habremos cumplido./ Claire: Eso. Habré cumplido./// Humorous elements: --- Humorous elements: --- 326 Example 65 Season 1, Pilot 01:30-01:40 Gloria: I come from a small village, very poor, but very, very beautiful. It is the number one village in all Colombia for all the... What's the word? Jay: Murders. Gloria: Yes, the murders. Humorous elements: H / CI DV: Gloria: Yo vengo de un pueblo pequeñito, muy pobre, pero muy muy bonito. Es el pueblo número uno en todo Colombia en... ¿Cómo se dice? Jay: Homicidios. Gloria: Eso, homicidios. SV: Gloria: Yo vengo de un pueblo pequeño,/ muy pobre pero muy, muy bonito.// Es el pueblo número uno de Colombia en...// - ¿Cómo se dice?/ Jay: - Homicidios.// Gloria: Eso, homicidios./// Humorous elements: H / CI Humorous elements: H / CI Example 66 Season 1, Pilot 02:17-02:27 Man: And this must be your dad. Jay: Her dad? Man: Yeah. Jay: No, no, that's funny. Actually, no, I'm her husband. Don't be fooled by the... [Trying to get up] Give me a second here. Humorous elements: CI / V / H DV: Hombre: Y usted debe de ser el abuelo. Jay: ¿El abuelo? Hombre: Sí. Jay: No, no, tiene gracia, pero solo soy su marido. No te dejes engañar por la... Espera un segundo. SV: Hombre: Y él debe de ser tu padre.// Jay: ¿Su padre? / Hombre: Sí. // Jay: No, no, tiene gracia, pero soy su marido. / Que no te engañe...// Espera un segundo./// Humorous elements: CI / V / H Humorous elements: CI / V / H 327 Example 67 Season 1, Pilot 08:08-08:28 Cameron: Yes, I've gained a few extra pounds while we were expecting the baby, which has been very difficult. But, apparently, your body does a nesting, very maternal, primal thing where it retains nutrients, some sort of molecular physiology thing. But that's science. You can't, you can't fight it. So... Humorous elements: H / V DV: Cameron: Sí, he cogido unos kilitos de más mientras esperábamos al bebé, lo cual ha sido muy difícil. Pero al parecer, el cuerpo hace una preparación maternal y primaria para retener nutrientes, es como algo de fisiología molecular, pero eso es ciencia y no... no puedes evitarlo. Así que... SV: Cameron: Sí, he cogido unos kilitos/ mientras esperábamos al bebé,// lo cual ha sido muy difícil.// Pero, al parecer, el cuerpo hace/ una preparación maternal y primaria// para retener nutrientes/ es como algo de fisiología molecular.// Pero eso es ciencia. No puedes evitarlo.// Así que.../// Humorous elements: H / V Humorous elements: H / V Example 68 Season 1, Pilot 13:35-13:54 Policeman: Excuse me, sir. We ask that all mall-walkers stay to the right. Jay: What? Humorous elements: CI / V DV: Policía: Disculpe, los que hacen ejercicio en el centro comercial deben circular por la derecha. Jay: ¿Qué? SV: Policía: Disculpe. Los que hacen ejercicio/ aquí deben ir por la derecha.// Jay: ¿Qué?/// Humorous elements: V Humorous elements: V 328 Example 69 Season 1, Pilot 18:16-18:22 Mitchell: We didn't just go to Vietnam for pleasure. We kind of have some big news. Jay: Oh, God. If Cam comes out here with boobs, I'm leaving. Humorous elements: CI DV: Mitchell: No hemos ido a Vietnam solo por placer. Tenemos una gran noticia. Jay: Ah, Dios. Como Cam aparezca por aquí con tetas, yo me voy. SV: Mitchell: No hemos ido a Vietnam solo por placer./ Tenemos una gran noticia.// Jay: Adiós. Como Cam aparezca por aquí/ con tetas, yo me voy./// Humorous elements: CI Humorous elements: CI Example 70 Season 1, Pilot 19:55-19:57 Phil: “Lily”. Isn't that gonna be hard for her to say? Humorous elements: H DV: Phil: Lily. ¿No le va a ser difícil decir eso? SV: Phil: “Lily”. ¿No le va a ser difícil decir eso?/// Humorous elements: H Humorous elements: H Example 71 Season 1, Pilot 20:18-20:26 Jay: Anyway, I'm happy for you and you should know that I'm not here to spit in your face, I'm here to blow at your back. Humorous elements: C I / L DV: Jay: En fin, me alegro por vosotros y deberíais saber que no estoy aquí para escupiros por delante sino para SV: Jay: En fin, me alegro por vosotros// y deberíais saber que no estoy aquí/ para escupiros por 329 soplaros por detrás. delante,// sino para soplaros por detrás./// Humorous elements: C I / L Humorous elements: C I / L Example 72 Season 1, Run for your wife 01:27-01:29 Jay: Really? Am I driving him to school, or is he gonna ride his burro? Humorous elements: CI / V DV: Jay: Sí, ¿voy a llevarle yo en coche o va ir en burro? SV: Jay: ¿De verdad? ¿Lo llevo al cole en coche/ o ya va él en burro?/// Humorous elements: CI / V Humorous elements: CI / V Example 73 Season 1, Run for your wife 07:29-07:44 Phil: I listen with my mind, and if you pay attention, women will tell you what they want, by telling you the opposite of what they want. Like the other day, Claire was like, “You have to move your car. There's no space in the garage for both of our cars.” And what she's really saying is that I should probably get a sports car. Humorous elements: CSH / H DV: Phil: Yo escucho con la mente y si prestas atención, las mujeres te dicen lo que quieren diciéndote lo opuesto a lo que quieren. El otro día, Claire decía “Tienes que mover el coche. No hay sitio en el garaje para los dos coches”. Y lo que de verdad estaba diciendo es que debería comprarme un deportivo. SV: Phil: Escucho con cabeza// y si prestas atención,/ la mujer te dice lo que quiere// diciéndote justo lo contrario.// El otro día mismo, Claire me dijo:/ “Quita tu coche,// “que los dos no caben en el garaje”.// Y con eso lo que dice es que tendría/ que comprarme un deportivo./// Humorous elements: CSH / H Humorous elements: CSH / H 330 Example 74 Season 1, Run for your wife 09:33-09:47 Mitchell: My dad has this perception that I was very flamboyant as a kid, which is just... It's nonsense, because I kept the whole gay thing very under wraps. You know, I was just a guy's guy. I was basically a jock. You know? Humorous elements: V DV: Mitchell: Mi padre tiene la percepción de que yo era muy extravagante de pequeño, lo cual es una tontería porque yo era bastante reservado con todo lo del tema gay. Era un tío tío. Era prácticamente un cachas. ¿Sabes? SV: Mitchell: Mi padre opina/ que yo era muy extravagante de niño,// lo cual es... Una tontería,// pues disimulaba muy bien lo de ser gay.// Era un tío como Dios manda, un machote.// ¿Sabéis?/// Humorous elements: V Humorous elements: V Example 75 Season 1, Run for your wife 11:15-11:37 Mitchell: We used to do this thing in school where they would give you an egg, and you couldn't break it, and it was supposed to teach you how hard it was to be a parent, but the real thing, it's so much harder. Cameron: We did that in my school, too. It didn't turn out so well. I went through a dozen eggs. Mitchell: Yeah, well, he's a nervous eater. Cameron: No, I broke a dozen eggs. Humorous elements: H DV: Mitchell: Hacíamos una cosa en el colegio donde te daban un huevo y no podías romperlo. Se suponía que eso te enseñaba lo duro que era ser padre, pero en la realidad es mucho más duro. Cameron: Yo también hice eso en el colegio y no salió muy bien. Necesité una docena de huevos. Mitchell: Cuando está nervioso SV: Mitchell: En el colegio hacíamos una cosa./ Te daban un huevo// y no podías romperlo,// cosa que servía para enseñar/ lo difícil que es ser padre,// pero la realidad es mucho más complicada.// Cameron: Nosotros también lo hacíamos./ No me salió muy bien.// Me fundí una docena de huevos.// Mitchell: Ya, es que come 331 come. Cameron: No, que rompí una docena. compulsivamente./ Cameron: No, que los rompí./// Humorous elements: H Humorous elements: H Example 76 Season 1, The bicycle thief 00:23-00:32 Phil: Well, be their buddy. Claire: That's your answer? Phil: And stay in school. Claire: No. Phil: And don't do drugs. Claire: No. Phil: Just give me the answer. Claire: Oh, God. Humorous elements: H DV: Phil: Pues ser su amigo. Claire: ¿Esa es tu respuesta? Phil: Y que estudie. Claire: No. Phil: Y que no se drogue. Claire: No. Phil: Pues dame la respuesta. Claire: Oh, dios. SV: Phil: Bueno, pues ser su colega.// Claire: - ¿Esa es tu respuesta?/ Phil: - Que no deje los estudios.// Claire: - No./ Phil: - Y que no tome drogas.// Claire: - No./ Phil: - ¿Y cuál es la respuesta?// Cla ire: Madre mía./// Humorous elements: H Humorous elements: H Example 77 Season 1, The bicycle thief 04:14-04:20 Gloria: In my culture, men take great pride in doing physical labor. Jay: I know. That's why I hire people from your culture. Humorous elements: CI DV: Gloria: En mi cultura los hombres se sienten muy orgullosos de los trabajos físicos. SV: Gloria: En mi cultura, los hombres se sienten/ orgullosos de hacer trabajos físicos.// 332 Jay: Lo sé. Por eso contrato a gente de tu cultura. Jay: Lo sé. Por eso contrato/ a gente de tu cultura./// Humorous elements: CI Humorous elements: CI Example 78 Season 1, The bicycle thief 05:58-06:06 Jay: Manny thinks his dad is like Superman. The truth? He's a total flake. In fact, the only way he's like Superman is that they both landed in this country illegally. Humorous elements: CI DV: Jay: Manny se cree que su padre es como Supermán. La verdad, es un fraude total. Es más, lo único que se parece a Supermán, es que los dos entraron de forma ilegal en el país. SV: Jay: Manny cree/ que su padre es como Superman.// ¿La verdad? Es un bicho raro.// De hecho, lo único que tiene de Superman// es que los dos llegaron a este país/ de forma ilegal./// Humorous elements: CI Humorous elements: CI Example 79 Season 1, Come fly with me 00:01-00:25 [Phil is watching the match. A trash bag is next to him] Claire: Honey, I thought you were gonna take out the garbage. Phil: I am. [Standing up, but stopping again watching the match] Claire: Phil. Phil: Yes. I'm getting it. [Moving slowly while watching the match. Claire takes the trash bag] Phil: I was... I wa s gonna get it. [ Still watching the match ] Humorous elements: CSH / V DV: Claire: Cariño, ¿no ibas a sacar la basura? Phil: Ya voy. Claire: Phil. Phil: Sí, ya voy. Phil: Iba... iba a cogerla. SV: Claire: ¿No ibas a sacar la basura?// Phil: Sí.// Claire: - Phil./ Phil: - Sí. Ya voy.// Phil: Iba a cogerla./// 339 Humorous elements: L Humorous elements: L Example 94 Season 1, Game changer 07:58-08:02 Jay: So, were you a big hit? Mitchell: What do you mean? Jay: Well, I just assumed there was some kind of costume party. Was Cam the Indian? Humorous elements: CSH DV: Jay: ¿Qué, triunfasteis? Mitchell: ¿Qué quieres decir? Jay: Di por hecho que era para una fiesta de disfraces. ¿Cam iba de indio? SV: Jay: Qué, ¿causaste impresión?/ Mitchell: ¿Qué quieres decir?// Jay: Supuse que habría/ una fiesta de disfraces.// ¿Cam iba de indio?/// Humorous elements: CSH Humorous elements: CSH Example 95 Season 1, Benched 00:20-00:32 Gloria: Ay, Dios mío, that coach. Claire: I hate that guy. Jay: He seems to have the kids motivated. Claire: Dad, you haven't seen him. He taunts the kids. He's abusive. Gloria: Listen, if this was a Colombian soccer league, long time ago one of the kids w ould have taken that guy out and... Humorous elements: H / V / CI DV: Gloria: Ay, Dios mío, ese entrenador. Claire: Yo le odio. Jay: A los niños los tiene motivados. Claire: Papá, tú no le has visto. Se mete con los niños. Les insulta. Gloria: Mira, si estuviéramos en Colombia, hace mucho tiempo que los niños lo habrían cogido y... SV: Gloria: - Ay, Dios mío, ese entrenador./ Claire: - Odio a ese tío.// Jay: Parece tener motivados a los chicos.// Claire: Papá, no lo has visto./ Se burla de ellos. Es grosero.// Gloria: Mira, si fuera/ una liga de fútbol colombiana,// hace tiempo 340 que uno de los chicos/ se lo habría llevado y.../// Humorous elements: H / V / CI Humorous elements: H / V / CI Example 96 Season 1, Travels with Scout 05:34-05:44 Dylan: Well, I totally would, but I'm not sure we like the same sorts of music, you know? Cameron: What, because I'm gay, I'm just gonna want to play show tunes? Dylan: No. Because you're old. Cameron: Well, that hurt more, Dylan. Humorous elements: CSH DV: Dylan: Bueno, sería genial, pero no sé si nos gusta el mismo tipo de música, ¿sabes? Cameron: ¿Qué? ¿Porque soy gay solo sé tocar música cursi? Dylan: No. Porque eres viejo. Cameron: Eso ha dolido más, Dylan. SV: Dylan: Bueno, sería genial,// pero no sé si nos gusta/ el mismo tipo de música, ¿sabes?// Cameron: ¿Qué? ¿Porque soy gay/ solo sé tocar música cursi?// Dylan: No. Porque eres viejo.// Cameron: Eso ha dolido, Dylan./// Humorous elements: CSH Humorous elements: CSH Example 97 Season 1, Travels with scout 05:52-06:03 Cameron: I used to be a music teacher, but I gave that up as soon as Lily came along. Mitchell: Yes, we just felt that it was really important that one of us stayed home to raise her, so... Cameron: And that's not a judgment on other people's choices. It's just that we happen to be a very traditional family. Humorous elements: H DV: Cameron: Yo era profesor de música, pero lo dejé en cuanto llegó Lily. Mitchell: Nos parecía muy SV: Cameron: Era profesor de música,// pero lo dejé en cuanto llegó Lily.// Mitchell: Nos parecía muy 341 importante que uno de los dos se quedara en casa criarla, así que... Cameron: Y eso no es una crítica a lo que hacen los demás. Es solo que somos una familia muy tradicional. importante// que uno se quedara en casa para criarla.../// Cameron: Y no es una crítica/ a lo que hacen los demás.// Es solo que somos/ una familia muy tradic ional./// Humorous elements: H Humorous elements: H Example 98 Season 1, Airport 2010 17:53-17:58 Policeman: Ma'am, you seem to know an awful lot about sneaking contraband onto a plane. Gloria: Yeah, I'm Colombian. Humorous elements: H / CI DV: Policía: Señora, parece saber mucho sobre cómo meter contrabando en un avión. Gloria: Sí, soy colombiana. SV: Policía: Parece saber usted mucho/ sobre cómo meter cosas en un avión.// Gloria: Sí, soy colombiana./// Humorous elements: H / CI Humorous elements: H / CI Example 99 Season 1, Hawaii 07:35-07:45 Gloria: I thought that one of the advantages of marrying an older guy was that I was going to be able to relax. But all this swimming and running and rowing, it's just like how some of my relatives got into this country. Humorous elements: H / CI DV: Gloria: Pensé que una de las ventajas de casarme con un hombre mayor era que iba a poder relajarme. Pero con tanto nadar y correr y remar, es como si algunos de mis parientes hubiesen venido aquí. SV: Gloria: Pensaba que una de las ventajas de casarse/ con un hombre maduro// era que yo podría relajarme.// Pero toda esa natación, correr y remar,// así llegaron a este país/ algunos de mis familiares./// 342 Humorous elements: --- Humorous elements: H / CI Example 100 Season 1, Family portrait 01:21-01:40 Jay: The new maid keeps mixing up my underwear with Manny's. Put on the first thing I grabbed, it was like a crotch tourniquet. You gotta talk to her. Gloria: Why me? Jay: Hola. You both speak the same language. Gloria: She's Portuguese. Do you know how offensive it is that you put all of us in the same mixing pot? Jay: I'm sorry, please apologize to her when you tell her not to put my underwear... Gloria: I can't talk to he r! Humorous elements: H / CI DV: Jay: La nueva criada siempre mezcla mis calzoncillos con los de Manny. Me he puesto el primero que he visto y era como un torniquete. Tienes que hablar con ella. Gloria: ¿Por qué yo? Jay: Gloria, las dos tenéis el mismo acento. Gloria: Es portuguesa. ¿Sabes cómo me ofende que nos metas a todos en el mismo saco? Jay: Perdona, pero pídele disculpas cuando le digas que no meta mis calzoncillos... Gloria: ¡Que no me entiende! SV: Jay: La nueva sirvienta me los mezcla/ con los de Manny.// Me puse uno y fue como/ un torniquete en la entrepierna.// - Tienes que hablar con ella./ Gloria: - ¿Por qué yo?// Jay: Habláis el mismo idioma.// Gloria: Es portuguesa. ¿Sabes lo ofensivo que es/ meternos a todos en el mismo saco?// Jay: Lo siento. Discúlpate de mi parte// cuando le digas que no mezcle mis...// Gloria: ¡No puedo hablar con ella!/// Humorous elements: H / CI Humorous elements: H / CI Example 101 Season 1, Family portrait 16:39-16:57 Phil: I didn't do anything! She kissed me! Claire: What? Who kissed you? Phil: Gloria! 343 Jay: What? Gloria: It was the Kiss-Cam. Jay: Why did you kiss Cam? Gloria: No, I kissed Phil. He told me I had to. Phil: No, no, that's... Claire: Okay, hang on a second. Was this before or after you ignored the phone call from your wife? Phil: You saw that, too? Humorous elements: L DV: Phil: Yo no he hecho nada. Me ha besado ella a mí. Claire: ¿Qué? ¿Quién te ha besado? Phil: Gloria. Jay: ¿Qué? Gloria: Era la cámara del beso. Jay: ¿Has besado a una cámara? Gloria: Pregúntale a Phil, dijo que debía hacerlo. Phil: No, no, es que... Claire: Vale, espera un segundo. ¿Eso fue antes o después de ignorar la llamada de tu mujer? Phil: ¿También has visto eso? SV: Phil: ¡No hice nada! ¡Ella me besó!// Claire: ¿Qué?// - ¿Quién te besó?/ Phil: - ¡Gloria!// Jay: - ¿Qué?/ Gloria: - Era la “cámara del beso”, la Kiss Cam.// Jay: - ¿Por qué besaste a Cam?/ Gloria: - No, besé a Phil. Dijo que lo hiciera.// Phil: - No, no, es.../ Claire: - Vale, un segundo.// ¿Eso fue antes o después/ de ignorar la llamada de tu mujer?// Phil: ¿Eso también lo viste?/// Humorous elements: --- Humorous elements: L Example 102 Season 2, The old wagon 07:54-08:02 Mitchell: Look at us. Three construction dudes. Dad, I'm gonna get you some workman gloves. I have blue and camel. What's your preference? Jay: Surprise me. Humorous elements: C SH / V DV: Mitchell: Oh, míranos. Tres súper obreros. Papá, voy a buscarte unos guantes. Tengo azules y beige, ¿cuál prefieres? Jay: Sorpréndeme. SV: Mitchell: Fíjate.// Tres manitas.// Te traigo unos guantes.// ¿Prefieres azules o marrones?// Jay: Sorpréndeme./// 344 Humorous elements: C SH / V Humorous elements: C SH / V Example 103 Season 2, The old wagon 12:37-12:47 Jay: I'm just sayin' the kid's gotta learn to let things go. Cameron: Well, this is a touchy subject for Mitchell. He wants to feel like a regular Joe, like you and I. [Jay is putting some mustard on a sandwich] Pardonnez - moi! I prefer the champagne Dijon to the standard yellow. Humorous elements: CI DV: Jay: Solo digo que tiene que aprender a olvidar. Cameron: Bueno, es un tema delicado para Mitchell. Quiere sentirse un tío normal, como tú y yo. Pardonnez-moi, prefiero la Dijon de champán a la mostaza normal. SV: Jay: Debe aprender a darse por vencido.// Cameron: Es importante para él.// Quiere ser un t ipo normal,/ como tú y yo.// Pardonnez-moi!/ Prefiero la mostaza de Dijon a la normal./// Humorous elements: CI Humorous elements: CI Example 104 Season 2, The old wagon 13:41-13:49 Mitchell: I know that I'm not the handiest guy, but I'm still a man. And I want to be able to look out into my yard and say... “There's a little bit of me in that princess castle.” Humorous elements: CI / L DV: Mitchell: Ya sé que yo no soy muy manitas, pero soy un hombre y quiero poder mirar mi jardín y decir: “Hay un poco de mí en ese castillo de princesas”. SV: Mitchell: Sé que no soy muy manitas,/ pero soy un hombre.// Y quiero poder mirar hacia mi jardín/ y decir:// “En ese castillo hay una parte de mí”./// Humorous elements: CI / L Humorous elements: --- 345 Example 105 Season 2, The kiss 00:52-01:00 Phil: He blew his lid when she tried to contain him. Humorous elements: L DV: Phil: Él pasó de su tapa, cuando ella quiso taparle. SV: Phil: Se voló la tapa/ cuando ella intentó contenerlo./// Humorous elements: --- Humorous elements: L Example 106 Season 2, The kiss 06:57-07:06 Haley: So you better get on it or else he's gonna think you're a lesbian. Alex: He's not going to think I'm a lesbian. Haley: I thought you were. You totally have the sandals for it. Humorous elements: CI DV: Haley: Así que ponte las pilas o se va a pensar que eres lesbiana. Alex: No se va a pensar que soy lesbiana. Haley: Yo creía que lo eras. Llevas unas sandalias de lesbiana total. SV: Haley: Va a pensar que eres lesbiana.// Alex: - No es verdad./ Haley: - Yo lo creía.// llevas las típicas sandalias./// Humorous elements: CI Humorous elements: CI Example 107 Season 2, The kiss 07:15-07:22 Jay: I thought maybe the cordless phone was interfering, so I unplugged it. Phil: Good idea. Maybe we should run downstairs and unplug the toaster while we're at it. Humorous elements: L / CI 346 DV: Jay: Pensé que sería una interferencia del teléfono, así que lo he desenchufado. Phil: Buena idea, tal vez deberíamos bajar corriendo a desenchufar la tostadora de paso. SV: Jay: He desenchufado el inalámbrico/ por si interfería.// Phil: Vamos a desenchufar también/ la tostadora./// Humorous elements: L / CI Humorous elements: L / CI Example 108 Season 2, Earthquake 05:36-05:41 Phil: It's like they say, sometimes when God closes a door, he closes it so hard that your wife can't get out. Humorous elements: L / CI DV: Phil: Es lo que dicen, cuando Dios cierra una puerta, a veces la cierra tan fuerte que tu mujer no puede salir. SV: Phil: Dicen que cuando Dios/ cierra una puerta...// la cierra tan fuerte/ que tu mujer no puede salir./// Humorous elements: L / CI Humorous elements: L / CI Example 109 Season 2, Earthquake 08:02-08:14 Gloria: You're still going golfing? God sent you a sign, Jay. Jay: What, the earthquake? You gotta be kidding me. Gloria: You say you're never going to church again and the ground shakes with a vengeance. Humorous elements: CI / H DV: Gloria: ¿Vas a irte al golf? Dios te ha enviado una señal, Jay. Jay: ¿Qué, el terremoto? ¿Me tomas el pelo? Gloria: Has dicho que jamás volverías a misa y el suelo se ha vengado. SV: Gloria: ¿Te vas a jugar al golf?// Dios te ha enviado una señal.// Jay: ¿El terremoto? Bromeas.// Gloria: Has dicho que jamás volverías a misa/ y el suelo tembló con ganas./// 347 Humorous elements: CI / H Humorous elements: CI / H Example 110 Season 2, Strangers on a treadmill 11:47-11:51 Claire: Did he just run into the bedroom and cry? Mitchell: Oh, yes, 'cause that's what all gay men do. We all dissolve into -- Humorous elements: CI / PL / V DV: Claire: ¿Se ha ido a su cuarto a llorar? Mitchell: Porque eso es lo que hacemos los gays, irnos a llorar... SV: Claire: ¿Está llorando?// Mitchell: Como buen gay.// Todos nos deshacemos en--/// Humorous elements: CI / PL / V Humorous elements: CI / PL / V Example 111 Season 2, Unplugged 00:14-00:18 Gloria: It's easy for you to ignore because you have the old-man hearing. But Manny and I, we have the young ears. Humorous elements: CI / L DV: Gloria: Para tí es fácil decirlo porque estás como una tapia. Pero Manny y yo tenemos buen oído. SV: Gloria: Para ti es fácil ignorarlo/ porque tienes el oído de un viejo.// Pero Manny y yo,/ tenemos oídos de jóvenes./// Humorous elements: CI Humorous elements: CI / L Example 112 Season 2, Unplugged 00:18-00:23 Jay: I don't get how one dog keeps you awake when you grew up sleeping through cockfights and revolutions. Humorous elements: CI / H 348 DV: Jay: No entiendo cómo te despierta un perro cuando te criaste entre tiroteos de traficantes y revolucionarios. SV: Jay: No entiendo cómo un perro/ no te deja dormir...// si creciste entre peleas de gallos/ y revoluciones./// Humorous elements: CI / H Humorous elements: CI / H Example 113 Season 2, Unplugged 01:17-01:20 Mitchell: This is perfect. Leave it to the gays to raise the only underachieving Asian in America. Humorous elements: CI / H DV: Mitchell: Lo que faltaba, solo unos gays podrían criar a la única asiática no empollona del país. SV: Mitchell: - Es perfecto.// Que los gais críen a la única asiática/ que va retrasada en EE.UU.// Humorous elements: CI / H Humorous elements: CI / H Example 114 Season 2, Unplugged 14:45-14:58 Jay: It worked out this time, but don't forget that stealing is against the law. Now maybe in Colombia-- Gloria: Here we go. Because in Colombia, we trip over goats and we kill people in the street. Do you know how offensive that is? Like we're Peruvians! Humorous elements: CI / H DV: Jay: Vale, te ha salido bien esta vez, pero no olvides que robar está prohibido. Puede que en Colombia... Gloria: Ya empezamos. Porque en Colombia criamos cabras y matamos a la gente en la calle. ¿Sabes cuánto me ofende eso? ¡Ni que fuéramos peruanos! SV: Jay: Esta vez te ha funcionado,/ pero robar va contra la ley.// - Quizás en Colombia--/ Gloria: - Ya estamos.// Porque en Colombia atropellamos cabras/ y matamos a la gente en la calle.// ¿Sabes lo ofensivo que es?// ¡Como si fuéramos peruanos!/// 355 DV: Jay: ¡Estaba borracho! No pienso irme de compras con Priscilla, la reina del desierto. SV: Jay: ¡Estaba borracho!// No pienso ir de compras con Priscilla, la reina del desierto./// Humorous elements: CI Humorous elements: CI Example 129 Season 2, The musical man 06:20-06:25 Gloria: Why are you both so mean? Where I come from, brothers respect each other. Jay: That's why Colombia's such a peaceful utopia. Humorous elements: CI / L DV: Gloria: ¿Por qué os tratáis tan mal? En mi país, los hermanos se respetan entre sí. Jay: Por eso Colombia es una utopía tan pacífica. SV: Gloria: ¿Por qué sois tan malos?// En mi país,/ los hermanos se respetan entre sí.// Jay: Colombia, baluarte de la paz./// Humorous elements: CI / L Humorous elements: CI / L Example 130 Season 2, The musical man 18:03-18:14 Claire: We love the word? Cameron: Where's the L? Manny: It's Luke. Cameron: Lower the insignia. Lower the-- [We love the F word] Jay: We love the -- . What the hell? Humorous elements: L / V DV: Claire: ¿Queremos a mundo? Cameron: ¿Y la L? Manny: Es Luke. Cameron: Baja la insignia, bájala. Jay: Queremos a--, ¿pero qué diablos? SV: Claire: “¿Amamos al mudo?”// Cameron: - ¿Y la N?/ Manny: - Es Luke.// Cameron: Bajad el emblema.// /AMAMOS EL JUDO/// Jay: Amamos el -- // Pero ¿qué 356 narices?/// Humorous elements: --- Humorous elements: L Example 131 Season 2, Mother’s day 04:07-04:11 Mitchell: Is that the party over there? Cameron: I don't know. I'm a woman, remember? I have a terrible sense of direction. Humorous elements: C SH / H DV: Mitchell: ¿Eso de ahí es la fiesta? Cameron: No lo sé, soy una mujer, ¿recuerdas? Me oriento de pena. SV: Mitchell: ¿Es esa la fiesta? Cameron: No lo sé. Soy una mujer, ¿recuerdas?/ No tengo sentido de la orientación./// Humorous elements: C SH / H Humorous elements: C SH / H Example 132 Season 2, Mother’s day 06:49-06:56 Gloria: Enough complaining! You can't bitch all day because you're not at the beach all day! Come on! Humorous elements: L DV: Gloria: ¡Ya basta de quejarse! No podéis lloriquear todo el día porque no estáis haciendo el vago. ¡Vamos! SV: Gloria: ¡Basta de quejas!// ¡Tanto explayaros porque no hemos/ pasado el día en la playa!// ¡Vamos!/// Humorous elements: --- Humorous elements: L Example 133 Season 2, Mother’s day 08:03-08:08 Phil: “We should stir the beef and sausages for five minutes.” Jay: And how much longer do I have to listen to the Julia Child 357 impression? Humorous elements: PL / CI DV: Phil: “Remover la carne y las salchichas durante cinco minutos”. Jay: ¿Y cuánto tiempo tengo que soportar esa horrorosa voz de Julia Child? SV: Phil: “Remover la carne y salchichas/ durante cinco minutos”.// Jay: ¿Cuánto tiempo tendré que oír/ esa imitación de cocinera de la tele?/// Humorous elements: PL Humorous elements: --- Example 134 Season 2, Mother’s day 14:01-04:03 Cameron: Sorry! Mitchell: Cam... Hands. Cameron: Sorry! Humorous elements: CI / V DV: Cameron: ¡Lo siento! Mitchell: Cam, las manos. Cameron: ¡Perdone! SV: Cameron: - ¡Perdón!// Mitchell: - Cam-- Las manos./ Cameron: - ¡Perdón!/// Humorous elements: CI / V Humorous elements: CI / V Example 135 Season 2, Good cop, bad dog 00:26-00:35 Mitchell: We had amazing seats for Lady Gaga, and he gets sick. I've been looking forward to that concert for months. It's the one gay cliché I allow myself. [He crosses his legs. Then he uncrosses them and tries to have a manly posture ] Humorous elements: CI / V DV: Mitchell: Tenemos unas súper entradas para Lady Gaga y se pone enfermo. Llevaba esperando ese SV: Mitchell: Teníamos unas entradas fabulosas/ para Lady Gaga y se p one malo.// Llevo meses 358 concierto meses. Es el único cliché gay que me permito tener. pensando/ en ese concierto.// Es el único estereotipo gay/ que me permito./// Humorous elements: CI / V Humorous elements: CI / V Example 136 Season 5, Suddenly, last summer 00:03-00:11 Jay: What's all this? I said one suitcase. Manny: I need choices, Jay. Jay: Colombia's not one of your more formal nations. The guy on their money's sitting in a lawn chair. Humorous elements: CI / H DV: Jay: ¿Qué es esto? He dicho una maleta. Manny: Necesito opciones, Jay. Jay: Colombia no es de las naciones más formales. El tío de los billetes está sentado en una mecedora. SV: Jay: ¿Qué es todo esto?/ Lleva una sola maleta.// Manny: - Necesito opciones, Jay./ Jay: - Colombia no es un país muy formal.// El tío en los billetes/ está sentado tomando el sol./// Humorous elements: CI / H Humorous elements: CI / H Example 137 Season 5, First days 00:31-00:35 Phil: Hey, you can hang your clothes in me. [ With the voice of Christopher Walken ] Humorous elements: PL DV: Phil: Eh, puedes colgar tu ropa en mí. [ With the voice of a robot ] SV: Phil: Oye, puedes colgar la ropa en mí./// Humorous elements: PL Humorous elements: --- 359 Example 138 Season 5, First days 02:06-02:11 Lily: Hey, I've been dressed for an hour. Come on. I can't be late. I'll fall behind. Mitchell: Sometimes I forget to factor in the Asian. Humorous elements: CI / H DV: Lily: Eh, llevo una hora vestida. Venga, que no puedo llegar tarde, me bajarán la nota. Mitchell: A veces se me olvida el factor asiático. SV: Lily: Llevo una hora vestida.// Vamos, no puedo llegar tarde./ Iré retrasada.// Mitchell: A veces se me olvida que es asiática./// Humorous elements: CI / H Humorous elements: CI / H Example 139 Season 5, Farm strong 01:43-01:50 Mitchell: Are these really our top two choices for colour palette? Why are they both white? Lily: That's what my friend Keisha asked about you and Daddy. Humorous elements: L / CI DV: Mitchell: ¿De verdad son las dos mejores opciones para los manteles? ¿Por qué los dos son blancos? Lily: Eso es lo que mi amiga Keisha pregunta de vosotros dos. SV: Mitchell: ¿Son nuestras únicas dos opciones?/ ¿Por qué son blancos los dos?// Lily: Eso preguntó mi amiga Keisha/ sobre vosotros./// Humorous elements: L / CI Humorous elements: L / CI Example 140 Season 5, Farm strong 13:53-13:58 Pam: It's my parents again. I'm getting married soon and they're already acting like they have empty nest syndrome. 15:47-15:51 Cameron: My sister here seems to think you all have to walk on eggshells 360 around me. 16:54-17:03 Jay: Hey, I got one! Remember that blue rotary phone you gave me for Christmas? Cameron: Yes. Jay: I tossed it. Cameron: Okay. May I ask the reason? Jay: It made me feel like Ann-Margret in Bye Bye Birdie. Phil: Why? Humorous elements: L [ ... ] L [ ... ] L DV: Pam: Mis padres otra vez. Voy a casarme pronto y ya están con el síndrome del nido vacío. [...] Cameron: Mi hermana parece creer que todos tenéis que ir con pies de plomo al hablarme. [...] Jay: Eh, yo tengo una. ¿Te acuerdas de ese teléfono antiguo que me regalaste por Navidad? Cameron: Sí. Jay: Lo tiré. Cameron: Vale, ¿puedo preguntar por qué? Jay: Me sentía como Tippi Hedren en Los pájaros. Phil: ¿Por qué? SV: Pam: Son mis padres otra vez.// Estoy a punto de casarme y creen que el nido se queda vacío./// [...] Cameron: Mi hermana parece creer que todos/ tenéis que andar de puntillas.../// [...] Jay: ¡Yo tengo una! El teléfono azul/ que me regalaste por Navidad.// Cameron: - Sí./ Jay: - Lo tiré.// Cameron: ¿Y puedo preguntarte la razón?// Jay: Me sentía como Ann-Margret/ en Un beso para Birdie// Phil: ¿Por qué?/// Humorous elements: L [ ... ] --- [ ... ] L Humorous elements: L [ ... ] --- [ ... ] --- Example 141 Season 5, The late show 05:54-05:58 Alex: I don’t know. Boys’ clothes aren’t really my thing. Lily: Really? Humorous elements: L DV: Alex: No lo sé, la ropa de chico no es mi fuerte. Lily: ¿En serio? SV: Alex: No lo sé./ La ropa de chicos no es lo mío.// Lily: ¿En serio?/// 361 Humorous elements: L Humorous elements: L Example 142 Season 5, The late show 13:51-13:55 Cameron: Yeah, you know. Mitchell put on some music, and we were primping and dancing around and I guess, well, we just lost track of time. Humorous elements: CI / H DV: Cameron: Sí, ya sabes. Mitchell ha puesto música y estábamos emperifollándonos y bailando y se nos ha pasado el tiempo. SV: Cameron: Mitchell ha puesto música,/ estábamos arreglándonos y bailando…// y supongo que hemos perdido/ la noción del tiempo./// Humorous elements: CI / H Humorous elements: CI / H Example 143 Season 5, A fair to remember 04:34-04:43 Jay: You wanna fit in. You're not doing yourself any favours with this cake contest. Manny: I don't know. Chefs get all the girls. Jay: You're a baker. Bakers are girls. Humorous elements: C SH / H DV: Jay: ¿Quieres ser uno más? Pues no te haces ningún favor con este concurso de tartas. Manny: Los chefs se ligan a todas las chicas. Jay: Eres pastelero y los pasteleros son chicas. SV: Jay: ¿Quieres encajar?// No te haces ningún favor/ con este concurso de tartas.// Manny: Los chefs ligan mucho.// Jay: Los pasteleros son chicas./// Humorous elements: C SH / H Humorous elements: C SH / H 362 Example 144 Season 5, The old man & the tree 01:18-01:21 Haley: When I wake up in my own room tomorrow I'm going to be giving thanks for my independence. And isn't that what Christmas is all about? Humorous elements: C SH / CI / H DV: Haley: Cuando me despierte mañana en mi propio cuarto, voy a dar las gracias por mi independencia. ¿No es esa la esencia de la Navidad? SV: Haley: Cuando me despierte en mi habitación...// daré gracias por mi independencia.// ¿No se celebra eso en Navidad? // Humorous elements: C SH / CI / H Humorous elements: C SH / CI / H Example 145 Season 5, The old man & the tree 10:53-11:04 Manny: This is taking forever. Jay: It's supposed to. Took my dad and I all day to get a tree. And when he finally brought her down he used to celebrate with a cigar. I was just a kid, so I'd have a cigarette. Humorous elements: CI / H DV: Manny: Estamos tardando un siglo. Jay: Como tiene que ser. Mi padre y yo tardábamos todo un día en conseguir un árbol y cuando por fin lo cortaba, lo celebraba con un puro. Yo era un crío, así que me fumaba un cigarrillo. SV: Manny: - No acabaremos nunca.// Jay: Así ha de ser. A mi padre y a mí/ nos costaba un día entero.// Y cuando por fin caía el árbol,/ se fumaba un puro para celebrarlo.// Yo, un cigarrillo. Era un niño./// Humorous elements: CI / H Humorous elements: CI / H Example 146 Season 5, And one to grow on 00:23-00:28 Luke: Come on. We don't want to be late like the guy we're gonna see on the table. Am I right? Phil: Of corpse you are. 363 Humorous elements: L DV: Luke: Venga, no quiero más. Ya vamos a ver bastantes fiambres, ¿verdad? Phil: Llévate una tartera. SV: Luke: Que no sea tarde para nosotros,/ como para el muerto.// - ¿Verdad?/ Phil: - Cla - dáver que sí./// Humorous elements: --- Humorous elements: L Example 147 Season 5, And one to grow on 07:48-07:56 Cameron: Friends fighting over a boy, something we know a thing or two about. Mitchell: Of course, usually it's gay men, not teenage girls, so we will have to adjust our approach just a... Not at all. Humorous elements: CI / L DV: Cameron: Una pelea por un chico. Nosotros sabemos mucho de esas cosas. Mitchell: Pero entre dos hombres gays, no entre chicas adolescentes, así que tendremos que cambiar nuestro enfoque absolutamente en... nada. SV: Cameron: Amigas peleándose por un chico--/ algo de eso sabemos.// Mitchell: Normalmente gais,/ no chicas adolescentes...// así que habrá que adaptarse un po--/ Nada.// Humorous elements: CI / L Humorous elements: CI / L Example 148 Season 5, Ispy 01:25-01:30 Phil: You don't trust bad boys, and yet you married one. [Phil blows the tea he is drinking] Humorous elements: L / V DV: Phil: No te fías de los chicos malos pero te casaste con uno. SV: Phil: No te fías de los chicos malos,/ pero te casaste con uno./// 364 Humorous elements: L / V Humorous elements: L / V Example 149 Season 5, Ispy 02:22-02:29 Gloria: And, yes, people are allowed their private thoughts and I shouldn't be so angry. But I am Latin, so I get to feel whatever I want. Humorous elements: H / CI DV: Gloria: Y, sí, todos tenemos derecho a soñar y no debería enfadarme tanto. Pero soy latina, así que me enfado si me da la gana. SV: Gloria: La gente tiene derecho/ a tener ideas privadas...// y no debería estar enfadada.// Pero soy latina,/ así que siento lo que quiero./// Humorous elements: H / CI Humorous elements: H / CI Example 150 Season 5, Spring-a-ding-fling 12:35-12:40 Jay: She's been stewing in there for an hour. Gloria: I say let's lock the door, cut the power. Let's show her that we mean business. Humorous elements: H / CI DV: Jay: Lleva una hora encerrada. Gloria: Yo voto por echar el pestillo y cortar la luz. Y que vea que vamos en serio. SV: Jay: - Lleva una hora ahí metida./ Gloria: - La encerramos y cortamos la corriente.// Que sepa que hablamos en serio./// Humorous elements: H / CI Humorous elements: H / CI Example 151 Season 5, Other people’s children 00:05-00:13 Jay: Now, who’s ready to watch some basketball? Why am I looking at you? 371 Alex: Okay. Claire: What we're worried about is that we have created an environment in which you feel it's necessary to-- Phil: Embelli-- Claire: Fanta-- Phil: Exagger-- Alex: Oh, my God. You guys don't think Alec is real? Claire: Sweetheart, I remember the pressure there was to fit in in high school. Phil: So do I. And whether you try to fit in by saying you fought a baby bear or by making up a boyfriend-- Alex: You guys are so unbelievable. You really think I'm that pathetic that I'd have to create some imaginary boyfriend? Phil: You know what's not imaginary? Your feelings. Alex: Okay, don't! Don't! FYI, I changed my Facebook status to “single” about an hour ago, and guess what. I already have a date. [Claire sees Alex's laptop] You don't believe me, do you? Claire: Sweetheart, you've had two boyfriends in 30 seconds. That's practically Haley's record. Alex: Well, he's real. His name is Teddy. Claire: His name is... Teddy? [Showing a Teddy bear] Alex: Yeah, uh-huh. Teddy Keys. [Phil touches Alex's keys] Claire: Oh. And what do we know about this young man? Alex: He's new to our school. He works at some mattress store-- Mattress King. [Without noticing, Alex points at a Martin Luther King's poster, both parents are surprised] And he's a bit of a bad boy. He had a little problem with shoplifting. He spent some time in juvie. [Alex takes a folder and the book “Crime & Punishment” appears] But he's not really my type. He's just a rebound. So I guess it doesn't really matter. Why am I even talking to you guys? Leave. [Phil takes some leaves Alex had on her night table] Get out! Humorous elements: L / V DV: Claire: Cielo, ¿estás sola? Alex: ¿Ves a alguien más aquí? Phil: ¿Y tú? Claire: Cielo, tu padre y yo te debemos una disculpa. Alex: ¿Por qué? Phil: Esta mañana no hemos pensado que las rosas podían ser para ti y creemos que estás ofendida. Alex: Supongo, un poquito. Claire: Siento muchísimo que te sientas mal y es completamente creíble que tengas un admirador. SV: Claire: Hola, cielo. ¿Estás sola?// Alex: ¿Ves a alguien más?// Phil: ¿Y tú?// Claire: Te debemos una disculpa.// Alex: ¿Por qué?// Phil: No creíamos que la rosa era para ti/ y te dolió.// Alex: Un poco.// Claire: Perdona por hacerte sentir mal.// Es creíble que tengas un admirador.// Alex: Vale.// Claire: Nos preocupa haber creado 372 Alex: Vale. Claire: Lo que nos preocupa es haber creado un entorno en el que creas que es necesario-- Phil: Adorn-- Claire: Fantas-- Phil: Exager-- Alex: ¡Qué fuerte! ¿Os creéis que Alec no existe? Claire: Cielo, recuerdo la presión que había por encajar en el instituto. Phil: Y yo también. Y es normal intentarlo diciendo que luchaste contra un bebé oso o inventándote un novio. Alex: Sois increíbles. ¿De verdad creéis que soy tan patética como para crearme un novio imaginario? Phil: ¿Sabes qué no es imaginario? Tus sentimientos. Alex: Vale. ¡No! ¡No! Que sepáis que he cambiado mi perfil de Facebook a soltera y, ¿sabéis qué? Ya tengo una cita. No me crees, ¿verdad? Claire: Cielo, has tenido dos novios en 30 segundos, ese es casi el récord de Haley. Alex: Pues existe, y se llama Teddy. Claire: Se llama... Teddy. Alex: Sí, aha. Teddy Llaves. Claire: Ah, ¿y qué sabemos de ese jovencito? Alex: Es nuevo en el cole, trabaja en una tienda de colchones... Colchones King. Y es un poco malote. Tuvo problemillas por robar en tiendas. Estuvo en un reformatorio. Pero no es mi tipo. Es un entretenimiento, así que no me importa mucho. ¿Qué hago hablando con vosotros? ¡Dejadme! ¡Fuera! un entorno...// en el que te sientes obligada a--// Phil: Adorn--/ Claire: Fanta--// Phil: Exager--/ Alex: Qué fuerte.// ¿Creéis que Alec no existe?// Claire: Recuerdo la presión del instituto/ por caer bien.// Phil: Ya. Tanto si es/ diciendo que luchaste contra un oso...// como inventándote un novio--// Alex: Sois increíbles. ¿Tan patética me veis/ como para imaginarme un novio?// Phil: ¿Sabes qué no te imaginas?/ Tus sentimientos.// Alex: ¡No! ¡No!// Que sepáis que he cambiado mi estado/ a “soltera” en Facebook.// Y ya tengo novio. ¡No me creéis!// Claire: Dos novios en 30 segundos,/ es casi el récord de Haley.// Alex: Es de verdad. Se llama Teddy.// Claire: ¿Como el osito?// Alex: Sí. Teddy Keyes.// Claire: ¿Y qué sabemos de él?// Alex: Es nuevo en el instituto.// Trabaja en una tienda, Colchones King.// Es un chico malo.// Estuvo en un correccional por robar.// No es mi tipo. Solo es para olvidar./ Así que da igual.// ¿Qué hago contándoos esto? Marchaos.// ¡Fuera!/// Humorous elements: L / V Humorous elements: L / V 373 Example 163 Season 6, Strangers in the night 19:56-20:34 Cameron: I mean, can you believe all the stuff Brenda brought for one night? Mitchell: I know. Look at all this stuff over here. Super replenishing balm? Uh, pore-reducing booster serum? Cameron: Antiaging buffing beads? It must be so hard to be a girl. Mitchell: I know. I know. It really makes you worry about the world we're sending Lily out into. Cameron: There's so much pressure on girls to be perfect. You ready? Mitchell: Yep.The thing is Cam, all we can do is instill our beliefs in her and hope that she makes good choices. Calming mister? Cameron: It does feel nice to talk about it. Mitchell: No, this is a calming mister. I just bought this. Cameron: Oh, God, yes. Mitchell: Want to try? Humorous elements: CSH / V DV: Cameron: ¿Te puedes creer todo lo que se ha traído Brenda solo para una noche? Mitchell: Mira todo lo que hay aquí. Bálsamo súper regenerador. Serum antiporos. Cameron: Bolitas antiedad. Qué duro es esto de ser mujer. Mitchell: Lo sé. Lo sé. Le hace pensar en el mundo que le espera a la pobre Lily. Cameron: Las chicas tienen tanta presión por ser perfectas. ¿Preparado? Mitchell: Sí. El caso es que solo podemos transmitirle nuestras creencias y esperar que tome buenas decisiones. ¿Relajante? Cameron: Sí que me relaja hablar de eso. Mitchell: No, es un espray relajante. Lo he comprado. Cameron: Uy, Dios. Mitchell: ¿Quieres probarlo? SV: Cameron: Qué cantidad de cosas/ se ha traído por una noche.// Mitchell: Fíjate en todo esto.// Bálsamo reconstituyente.// Serum reductor de poros.// Cameron: Perlas antienvejecimiento.// Debe de ser muy duro ser mujer./ Mitchell: Ya.// Me preocupa el mundo/ en el que vivirá Lily.// Cameron: Tanta presión por ser perfecta.// ¿Listo?/ Mitchell: Sí.// Solo podemos transmitirle nuestros valores/ y esperar que ella tome buenas decisiones.// ¿Calmante?/ Cameron: Sí, me sienta bien hablarlo.// Mitchell: No, que esto es un calmante./ Lo he comprado.// Cameron: Ah, vale./ Mitchell: ¿Quieres probar?/// Humorous elements: CSH / V Humorous elements: CSH / V 374 Example 164 Season 6, Haley’s 21 st birthday 02:23-02:42 Phil: Tonight, while Claire gets things started at the bar, Jay is taking me to pick up Haley's birthday present... a new car! Claire: Phil shopped around, found something very safe and lowmaintenance with lots of good reviews. Phil: Till I married her. I'm joking! You're not low-maintenance! I doubled down. Claire: I heard you. Humorous elements: L / CSH DV: Phil: Esta noche, mientras Claire se llevó a todos al bar, Jay me llevó a comprar el regalo de Haley... ¡un coche nuevo! Claire: Phil ha buscado algo muy seguro, barato de mantener y con muy buena crítica. Phil: Y me casé con ella. ¡Es broma! No es barata de mantener. Doble broma. Claire: Te he oído. SV: Phil: Esta noche, mientras Claire/ empieza en el bar…// Jay me acompaña a recoger/ el regalo de Haley--// ¡un coche!// Claire: Phil buscó y encontró/ algo seguro y barato…// con buenas referencias.// Phil: Y me casé con ella. ¡Es una broma!// ¡No eres barata!// - Me la he judado./ Claire: - Te he oído./// Humorous elements: L / CSH Humorous elements: L / CSH Example 165 Season 6, Haley’s 21 st birthday 16:05-16:12 Phil: It was supposed to be such a great moment for me as a dad. I was gonna walk into that bar, give my daughter her new car keys and say, “Honey, chug that drink. We're going for a spin.” Humorous elements: H DV: Phil: Iba a ser mi gran momento como padre. Iba a entrar en ese bar, darle a mi hija las llaves del coche y decir “Guapa, acábate la copa que nos vamos a dar una vuelta”. SV: Phil: Iba a ser un gran momento/ como padre.// Iba a entrar al bar,/ darle las llaves del coche…// y decir: “Cariño, acaba la copa./ Vamos a dar una vuelta”./// 375 Humorous elements: H Humorous elements: H Example 166 Season 6, Haley’s 21 st birthday 19:23-20:00 Phil: Now that Claire has a tattoo I can finally get one of my own! So I've been trying to think of a phrase that sums up the way I live my life. I don't think small. I don't do things halfway. I'm not afraid of taking risks. Then I was trying to think of the perfect place to put it. You know, you don't want to put it on a body part that's gonna wrinkle or sag too much. And you don't want it someplace where you're wearing a suit it would show. Claire: True. Phil: So, on my lower back I will put the words “Go deep.” Bam. Claire: Think about it. Phil: I heard it. Claire: Okay. Phil: Um. “Do it.” No. “All in.” Claire: No, no. Phil. Phil: Oh! Humorous elements: L DV: Phil: Ahora que Claire tiene un tatuaje, ¡por fin puedo hacerme uno! Estoy pensando en una frase que resuma mi vida. No pienso en pequeño. No hago las cosas a medias. No me da miedo asumir riesgos. Y también en el sitio perfecto para ponerlo. Sabes, no puedes ponerlo en una parte que se arrugue o se quede flácida. Y no conviene en un sitio que al ponerte traje se vea. Claire: Cierto. Phil: Así que abajo en la espalda pondré las palabras “A tope”. Bumba. Claire: Piénsalo. Phil: Ya he caído. Claire: Vale. Phil: “Hazlo”. No. “A tope”. No. Claire: No, Phil. SV: Phil: Ahora que Claire tiene un tatuaje,/ por fin puedo hacerme uno.// Estoy pensando en una frase/ que resuma mi vida.// Pienso a lo grande./ No me quedo a medias.// No me da miedo el riesgo.// Y he pensado un buen sitio/ para ponérmelo.// Un sitio que no se arrugue…// ni cuelgue demasiado.// Un sitio que no se vea/ si llevo un traje.// Claire: Es verdad.// Phil: En la parte baja de la espalda./ Y pondré: “Hasta el fondo”.// Toma.// Claire: - Piénsatelo./ Phil: - Me he dado cuenta.// “Hazlo ya”. No.// - “A por todas”./ Claire: - No. No, Phil./// 376 Humorous elements: L Humorous elements: L Example 167 Season 6, The day we almost died 06:18-06:27 Alex: And I need to stop taking shots at your intelligence. Haley: You don’t do it that often. Alex: Well, you miss a lot of it. Oh, there, I did it again. Haley: Did what? Humorous elements: H DV: Alex: Y tengo que dejar de meterme con tu inteligencia. Haley: No lo haces tan a menudo. Alex: Bueno, muchas veces no te enteras. Ay, lo he vuelto a hacer. Haley: ¿El qué? Alex: No importa. SV: Alex: Tengo que dejar de burlarme/ de tu inteligencia.// Haley: No lo haces tanto.// Alex: Muchas veces no te enteras./ Lo he vuelto a hacer.// Haley: - ¿El qué?/ Alex: - Nada./// Humorous elements: H Humorous elements: H Example 168 Season 6, The big guns 03:36-03:56 Jay: The kid's ready. Plus, if I'm being honest, I'm tired of buying diapers. Excuse me. Where do you keep the diapers? Shop assistant: Right over here, sir. Jay: You trying to be funny? Shop assistant: We have larger sizes. Humorous elements: H / V DV: Jay: El chaval está preparado y para ser sincero estoy harto de comprar pañales. Perdona, ¿dónde tenéis los pañales? Vendedor: Por aquí, señor. Jay: ¿Es una broma? Vendedor: Tenemos tallas más SV: Jay: Está listo.// Y además estoy harto de comprar pañales.// ¿Dónde están los pañales?// Vendedor: Por aquí, señor.// Jay: ¿Te haces el gracioso?// Vendedor: Tenemos tallas grandes./// 377 grandes. Humorous elements: H / V Humorous elements: H / V Example 169 Season 6, The big guns 18:42-18:46 Mitchell: Coming up with a lie like that in the moment-- That girl is no clown. She's gonna be a lawyer. Humorous elements: CSH DV: Mitchell: Inventarse una mentira así en un momento, esa niña no será payasa. Será abogada. SV: Mitchell: Mentir así en ese momento--// Esa niña no es una payasa.// Va a ser abogada./// Humorous elements: CSH Humorous elements: CSH Example 170 Season 6, Rash decisions 04:15-04:19 Claire: Well, hello. How is your first day back in the closet... business? Humorous elements: L DV: Claire: Hola, ¿qué tal tu primer día de vuelta al armario... de la empresa? SV: Claire: Hola. ¿Qué tal tu primer día/ de vuelta en el sector del... armario?/// Humorous elements: L Humorous elements: --- Example 171 Season 6, Valentine’s day 4: twisted sister 00:09-00:13 Claire: What about the electrician? Did you give him a check? Phil: He's an electrician. He'll charge us. Humorous elements: L 378 DV: Claire: ¿Y el electricista? ¿Le has dado el cheque? Phil: No, que me da calambre. SV: Claire: - ¿Y el cheque al electricista?// Phil: - No, que da calambre./// Humorous elements: --- Humorous elements: --- Example 172 Season 6, Fight or flight 01:02-01:13 Phil: I have to admit, I was a little miffed that Claire grabbed the good seat especially after I gave her such a magical weekend. But I was determined to stay positive. And then it hit me. Humorous elements: L / V DV: Phil: La verdad es que me fastidió que Claire se cogiera el sitio bueno, sobre todo después de un fin de semana tan mágico. Pero estaba decidido a ser positivo. Y entonces me entró en la cabeza. SV: Phil: Me ofendió que Claire/ cogiera ese asiento...// después del mágico fin de semana.// Pero me mantuve positivo./ Y entonces caí./// Humorous elements: L / V Humorous elements: V Example 173 Season 6, Closet? You’ll love it! 05:35-06:34 Manny: Mom, that perv is ogling you again. Phil: No! I was reading my horoscope. “You will borrow a huge swimsuit today.” What? Gloria: Ay, no! The plane! The plane! It's always spying on me! Go away or I'm gonna call the policeman! Phil: Wow. Don't even waste your time, Gloria. Johnny Law's got no chance with that baby. You're looking at a Freeling Cloudgazer with aftermarket frequency scrambler. Untraceable. As you can guess, I'm a droner myself. Gloria: Yes, you are droning right now. Ay, it's getting closer! Manny: Mom, maybe you should cover up. Phil: No! That's crazy. We can knock it out of the sky. Manny, grab the hose. Luke: I'll use this to blind it. 379 Phil: My eyes! Gloria: My eyes! Phil: Oh! Manny: And just like that, it disappears. Luke: In his defense, the water's really cold. Humorous elements: L / V DV: Manny: Mamá, ese pervertido está espiándote otra vez. Phil: ¡No! Estaba leyendo mi horóscopo. “Hoy cogerás prestado un bañador enorme”. ¿Qué? Gloria: Ay, no, el avión, el avión siempre está espiándome! Vete o llamo al señor policía. Phil: Ah, ni te molestes, Gloria. Los pobres polis no tienen nada que hacer contra esa maravilla. Es un asaltanubes con difructor de frecuencia. Es imposible de rastrear. Como verás, me molan mucho los drones. Gloria: Sí, te molan demasiado. Ay, ¡se acerca! Manny: Mamá, es mejor que te tapes. Phil: ¡No! Eso es ridículo. Podemos derribarlo y ya. Manny, coge la manguera. Luke: Puedo usar esto para cegarlo. Phil: ¡Mis ojos! Gloria: ¡Mis ojos! Manny: Y así, sin más, desaparece. Luke: En su defensa, el agua está muy fría. SV: Manny: Mamá, te están espiando otra vez.// Phil: ¡No! Leía mi horóscopo.// “Hoy te dejarán un bañador enorme”./ ¿Qué?// Gloria: ¡No! ¡El avión!// ¡Siempre me está espiando!// ¡Vete o llamo a la poli!// Phil: No pierdas el tiempo.// No pueden hacer nada.// Es un Freeling Cloudgazer/ con codificador de frecuencia.// No deja rastro./ Me encantan los drones.// Gloria: Déjate de tecnicismos.// ¡Se acerca más!// Manny: - Tápate, mamá./ Phil: - ¡No!// Podemos apartarlo.// Coge la manguera.// Luke: Yo lo deslumbraré.// Phil: ¡Mis ojos!// Gloria: ¡Mis ojos!// Manny: Y desaparece sin más.// Luke: En su defensa, el agua está fría./// Humorous elements: L / V Humorous elements: L / V Example 174 Season 6, Closet? You’ll love it! 14:19-14:24 Man: Sorry, got to run. Maya's feeling a bit feverish. Cameron: Oh, well, I guess some people can't take the heat. 380 Humorous elements: L DV: Hombre: Lo siento. Tenemos que irnos. Maya tiene un pelín de fiebre. Cameron: Bueno, hay personas que no soportan la presión. SV: Hombre: Nos vamos.// Maya tiene fiebre.// Cameron: Vaya, demasiada presión./// Humorous elements: --- Humorous elements: --- Example 175 Season 6, Knock ‘em down 05:55-06:12 Haley: It's 8:30. The doors don't even open for another hour. Mitchell: Well, then, what are you doing here? Haley: Pregame! Mojitos and cosmos, the drinks of your peoples. Mitchell: All right. Let's get crazy. I'll uncover the cheese. Haley: So we'll meet my friends outside the club at, like, 10:30. Mitchell: 10:30? Haley: Yeah, the band doesn't go on until midnight. Gloria: Midnight? Haley: Okay, if you guys can't hear me now, we're gonna have some real problems at the club. Humorous elements: H DV: Haley: Son las 8 y media. Falta una hora para que abran. Mitchell: ¿Y entonces qué haces aquí? Haley: El calentamiento. Mojitos y cosmos. Lo que beben los tuyos. Mitchell: ¡Vale! Una noche loca. Voy destapando el queso. Haley: He quedado con mis amigas a las 10 y media. Mitchell: ¿10 y media? Haley: Sí, el grupo no toca hasta las 12. Gloria: ¿Las 12? Haley: Oye, si no me oís ahora, vamos a tener un buen problema en el club. SV: Haley: Abren dentro de una hora.// Mitchell: - ¿Y qué haces aquí?/ Haley: - ¡Precalentar!// Mojitos y cosmos:/ las bebidas de vuestra edad.// Mitchell: Que empiece la fiesta./ Sacaré el queso.// Haley: - Hemos quedado a las 22:30 h./ Mitchell: - ¿Las 22:30?// Haley: - La banda toca a medianoche./ Gloria: - ¿Medianoche?// Haley: Si no me oís ahora,/ en la discoteca será peor.///