الفهرس 
1.1 Theories of HumourOnly 14 pages are availabe for public view
Abstract
Audiovisual translation (AVT) is a fast-growing research area in translation studies. It generally involves an SL/TL linguistic transfer of an audiovisual text, intended for cinema, television, or video. It makes it possible for the audience to enjoy audiovisual products that comes from different cultures in their own languages. Audiovisual translators encounter many problems in the process of translation, including, but not limited to, changing registers and cultural-specific references. The AVT process is even more complex when it comes to translating humour; as handling the infinite humour-making resources that different languages use is quite challenging.
This is a comparative study of the Arabic dubbing and subtitling of some Disney animated movies. It attempts to explore problematic areas of analysis that humour translation might present, how humour was translated in dubbing and subtitling and whether it had lost its power to amuse in the target culture. The thesis particularly looks at the restrictions and guidelines for dubbing and subtitling, and investigates how they differ in the data and which of them is more faithful to the source language and culture. This is achieved by adopting a product-based cross-cultural approach to humourous discourse for the analysis, accounting for both: the need for the text to be enjoyable for the target audience as well as the respect of the original author’s intent.
The study traces back the main premises of humour represented in the Incongruity theory adopted by Immanuel Kant (1790) and refined later by Arthur Schopenhauer (1819). It relies on The General Theory of Verbal Humour, developed by Salvatore Attardo and Victor Raskin (1991) as an extension and revision of Victor Raskin’s Script-based Semantic Theory of Humour (1985) and Patrick Zabalbeascoa (1996) humour typology Believing that in crossing geographical boarders ”humour has to come to terms with linguistic and cultural elements which are often only typical of the source culture”, the study explores how the comic effect and humour are rendered in some of Disney animated movies. This is done through analyzing the dubbing and subtitling of these movies while investigating the challenges of these two modes of translation and the extent to which they are faithful to the ST as outlined in the classification of strategies by Cintas and Ramael (2007). The study also addresses the code-switching used in some of the films in question. The films under examination are Hercules (1997), Mulan (1998), The Princess and the frog (2009), Aladdin (1992) and Moana (2016). These are selected for their multicultural themes and characters.
The thesis is divided into three chapters, preceded by an introduction and followed by a conclusion. The Introduction briefly outlines the research background, including a review of subtitling and dubbing literature, and the proposed methodology.
Chapter One lays the theoretical and methodological groundwork for a comparative approach to the analysis. It is divided into three sections. The first section explores the theories of humour; while particularly focusing on Incongruity theory adopted by Immanuel Kant (1790) and refined later by Arthur Schopenhauer (1819), and The General Theory of Verbal Humour. In the second section, the chapter reviews humour translation, typology of verbal humour; humour that depends on cultural references and language-dependent humour. The chapter’s third section explores the most prominent types of AVT and screen translation; dubbing and subtitling, focusing on the linguistic and technical constraints of both modes.
In Chapter Two, dubbing and subtitling of instances of humour in Aladdin (1992) and Hercules (1997) are examined to determine whether humour can be transferred between different languages and cultures without losing its amusing effect. This is done through analyzing the dubbing and subtitling of both films according to the classification of strategies proposed by Cintas and Ramael (2007) while classifying the categories of analysis as per Zabalbeascoa (1996) humour typology.
Focusing on technical constraints of the dubbing and subtitling processes and how they pose a challenge for humour translation, Chapter Three, analyzes humour in texts translated into Modern Standard Arabic (MSA) and the Egyptian Cairene Colloquial dialect in Mulan (1998) and The Princess and the Frog (2009). The chapter also highlights using Modern Standard Arabic and the Egyptian Cairene Colloquial dialect in translating humour in Moana (2016).
The conclusion revisits the research questions and objectives posed in the introduction of the study and highlights how each chapter serves to respond to these questions and objectives.