Parissa

Introduction

It is sometimes believed that humor is not travel between the languages. This has been a motivation for students to consider the translatability (UN) of humor. However, given the general admiration of certain films and TV programs around the world, we can realize that regardless of any drawbacks, the humor does not travel through the cultural and language barriers. Bearing in mind this point, the objective of this study was to examine how it works across languages and cultures through a media methods of translation, dubbing, which is here.

The basic characteristics that all the events include comedy by surprise, and play with logic, expectations, conventions and meaning (Nael & Krutnik 1990:43). The two modes are considered in this study because it seems difficult to separate them. However, departing from conventional norms, the daily conversation and breaking the rules of politeness and propriety are essential to all types of comedy. Timing and relevance of the utterance is another factor in the creation of humor. Sometimes, when this factor is violated the surprise result is fun and appealing to the public. Filled with humorous articles in the case of Shrek and Shrek 2 animations in the world and their success as the most popular animated films for children and adults, and elsewhere, the success of dubbed versions of these Persian cartoons in comparison with other animated films dubbed, were the reasons for their choice as the object of this study. Songs and rhymes are excluded from this study because they are a complex issue, a broad category and outside the scope of this study.

Objectives

There were two objectives to this study which was conducted in order to write a thesis. First, the researcher wanted to know what strategies the Persian translators have requested the transfer of humor of English Persian. Secondly, it was intended to see what strategies were more frequently used by translators.

Corpus

For purposes of this research, some animated films popular English language were selected, which are among the most successful cartoons in the world. Although there are many reasons for these choices, first there were two requirements that the research material had to meet: it must have called the Persian version. The second reason is directly linked to the strong flavor of humorous cartoons selected for the development of this study is the examination of the element of humor in translation. To give an example, one can refer to that little Shrek, like Patrick Zabalbeascoa (2000: 27) writes, belongs to the category of "white with black spots," which in other words, a text presented as a infant gender, but with elements directed exclusively to adults. In the case of Shrek, the content of the humor is intended exclusively for adults is a guarantee of research material interesting and complex.

Theoretical Framework

This study is based on Darbelnet and Viney (1995) model of translation. They represent two major categories, namely direct or literal translation methods and oblique. These two categories include the seven strategies: borrowing, layer, literal translation, transposition, modulation, equivalence and adaptation.

Data Analysis

Some elements of humorous cartoons Skrek I and II and their translations in Persian called are analyzed here is based on the model above.

"Are not you a sight of sore eyes?"

Persian: Baba Cheshmaye mibinan ghurim daran younger junior level?

In this sentence, Donkey States surprised to see Shrek and Fiona, the Persian translation was observed as "sore eyes" has been replaced by a term culture to refer to his own eyes, but this sentence is in Persian.