The Translator

Studies in Intercultural Communication

Volume 2, Number 2, 1996

Wordplay and Translation

Special Issue
Dedicated to the memory of Andre Lefevere (1945-1996)

Guest Editor
Dirk Delabastita
Facultes Universitaires Notre-Dame de la Paix, Namur

Published with the support o f the

Facultes Universitaires
N otre-D am e de la Paix, N am ur

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ISBN 13: 978-1-900650-01-4 (pbk)

THE TRANSLATOR

STUDIES IN INTERCULTURAL COMMUNICATION

Volume 2, Number 2, 1996

EDITOR

Mona Baker (UM1ST & Middlesex University, UK)

EDITORIAL BOARD

Daniel Gile (Universite Lumiere Lyon 2 & ISIT, France)

Ian Mason (Heriot-Watt University, UK)
Christiane Nord (U niversitat Hildesheim, Germany)
Anthony Pym (Universitat Rovira i Virgili, Spain)
Lawrence Venuti (Temple University, USA)
Judith Woodsworth (Concordia University, Canada)

REVIEW EDITOR

Myriam Salama-Carr (University of Salford, UK)

INTERNATIONAL ADVISORY BOARD

Aliki Bacopoulou-Halls (The University of Athens, Greece)

Franco Buffoni (Universita di Cassino, Italy)
Simon Chau (Hong Kong Baptist College, Hong Kong)
Dirk Delabastita (Facultes Universitaires Notre-Dame de la Paix, Belgium)
Jean Delisle (University of Ottawa, Canada)
Basil Hatim (Heriot-Watt University, UK)
Kinga Klaudy (University of Budapest, Hungary)
Ingrid Kurz (Universitat Wien, Austria)
Paul Kussmaul (Johannes Gutenberg-Universitat Mainz, Germany)
Kitty van Leuven-Zwart (Universiteit van Amsterdam, The Netherlands)
Carol Maier (Kent State University, USA)
Kirsten Malmkjser (University of Cambridge, UK)
Roberto Mayoral Asensio (Universidad de Granada, Spain)
Douglas Robinson (University of Mississippi, USA)
Juan Sager (UMIST, UK)
Christina Schaffner (Aston University, UK)
Candace Seguinot (York University, Canada)
Miriam Shlesinger (Bar-Ilan University, Israel)
Sonja Tirkkonen-Condit (University of Joensuu, Finland)
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THE TRANSLATOR

Volume 2 Number 2 November 1996

Wordplay and Translation

Guest Editor: Dirk Delabastita, Belgium

Contents
Introduction
Dirk Delabastita, Belgium 127

Spik in Glyph? Translation, Wordplay and Resistance

in Chicano Poetry
Tace Hedrick, USA 141

Meaningful Literary Names. Their Forms and Functions,

and their Translation
Luca Manini, Italy 161

The Pitfalls o f Metalingual Use in Simultaneous Interpreting

Sergio Viaggio, United Nations, Austria 179

Caught in the Frame. A Target-Culture Viewpoint on

Allusive Wordplay
Ritva Leppihalme, Finland 199

‘Curiouser and Curiouser V Hebrew Translation o f Wordplay

in 'Alice's Adventures in Wonderland'
Rachel Weissbrod, Israel 219

Translating Jokes fo r Dubbed Television Situation Comedies

Patrick Zabalbeascoa, Spain 235

Dante ’s Puns in English and the Question o f Compensation

Edoardo Crisafulli, Ireland 259

No-Man's Land on the Common Borders o f Linguistics, Philosophy

& Sinology. Polysemy in the Translation o f Ancient Chinese Texts
Sean Golden, Spain 277
Revisiting the Classics
A Question o f Form. The Problems o f Translating Expressive
Text: Review of Rudolf Zimmer’s Probleme der Ubersetzung
formbetonter Sprache
Peter Fawcett, UK 305

Book Reviews
Suzanne Jill Levine: The Subversive Scribe
Tom Conley, USA 313

Frank Heibert: Das Wortspiel als Stilmittel und seube Ubersetzung

Cees Koster, The Netherlands 317

Brigitte Schultze & Horst Turk (eds): Differente

Lachkulturen? Fremde Komik und ihre Ubersetzung
Dirk Delabastita, Belgium 324

Jacqueline Henry: La traduction des jeux de mots

Ronald Landheer, The Netherlands 326

Dirk Delabastita: There ’a a Double Tongue

Dirk De Geest, Belgium 328

Course Profile
Wordplay and the Didactics o f Translation
Michel Ballard, France 333

Wordplay and Translation

A Selective Bibliography
Dirk Delabastita, Belgium & Jacqueline Henry, France 347

Recent Publications 312

Conference Diary 354

The Translator. Volume 2, Number 2 (1996), 127-139 ISBN 1-900650-01-0

Introduction
DIRK DELAB ASTITA
FUNDP Namur, Belgium

But to return to Punning. Having pursued the History o f a Punn,

from its Original to its Downfal, I shall here define it to be a Conceit
arising from the use o f two Words that agree in the Sound, but differ
in the Sense. The only way therefore to try a Piece o f Wit, is to
translate it into a different Language: I f it bears the Test you may
pronounce it true; but i f it vanishes in the Experiment you may
conclude it to have been a Punn.

(Addison 1711/1982:343)

When Samuel Beckett (1957:65) wrote “in the beginning was the pun”, he
seemed to be saying that wordplay is inherent in the structure of language and
therefore natural to the human mind. Few specialists today would contest that
there is a core o f truth in Beckett’s biblical witticism, which goes some way
towards explaining why the pun has survived all attempts to stamp it out and
keeps cropping up in the most diverse texts and contexts. When in a later bib­
lical episode God dispersed the human race over the globe and smashed their
common tongue into the pieces we now call languages, the scene was set for a
problem that has since troubled countless practitioners and theorists o f trans­
lation: if puns owe their meanings and effects to the very structure of the source
language, how could they be divorced from that language and be taken across
the language barrier?
The aim o f the present collection of papers is to demonstrate not just that
the above-mentioned problem invites various possible answers and solutions,
but also that the terms o f the question itself are too restrictive. There is indeed
a lot more at stake than just the question is wordplay translatable? For a start,
any answer that this question may prompt is bound to be theoretically biased
insofar as it will depend on the type o f translation one has in mind (in terms of
kinds and degrees o f equivalence, as well as of genres and communicative
situations), but also on the speaker’s own position vis-a-vis the actual busi­
ness o f translation (whether one is speaking as a teacher o f translation, as a
practitioner, a critic, a theorist, a historian, a philosopher o f language). M ore­
over, the discussion is likely to draw us into all sorts o f debates about key
issues in linguistics, pragmatics, historical poetics and semiotics, down to philo­
sophical questions concerning the nature of language and their ideological
implications. How do puns exemplify the way a particular language expresses

ISSN 1355-6509 © St Jerome Publishing, Manchester

128 Introduction

or shapes a world view? Is language the mere dress of meaning, or is it the

source o f meaning? Can the pun sabotage language as an instrument o f power
by undermining its illusion of semantic stability?

1. Aspects of the pun

By way o f a working definition o f wordplay, I would suggest the following:

Wordplay is the general name for the various textual phenomena 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.

As in all definitions, this formula buys compactness and generality at the cost
o f elegance and transparency: all the elements it highlights are relevant and
necessary, but a brief explanation o f each is certainly in order.

1.1. Similar form s vs different meanings

The pun contrasts linguistic structures with different meanings on the basis
o f their formal similarity. This relation of complete or partial formal identity
can be further specified in terms of homonymy (identical sounds and spelling),
homophony (identical sounds but different spellings), homography (different
sounds but identical spelling), and paronymy (there are slight differences in
both spelling and sound). Furthermore, the two formally similar linguistic struc­
tures may clash associatively by being co-present in the same portion o f text
(vertical wordplay), or they may be in a relation of contiguity by occurring one
after another in the text (horizontal wordplay). The combination o f these dis­
tinctions produces the following grid, which might serve as a typology o f puns
in terms o f their formal organization:

Homonymy Homophony Homography Paronymy

VERTICAL VERTICAL VERTICAL VERTICAL

Pyromania: a Wedding belles MessAge Come in for a
burning passion [name o f mid- faith lift
1990s rap band] [slogan on
church]

HORIZONTAL HORIZONTAL HORIZONTAL HORIZONTAL

Carry on dancing Counsel for How the US put It's G.B. for the
carries Carry to Council home US to shame Beegees
the top buyers [article on pop
[article on ambi­ band touring
tious young Britain]
dancer named
Carry]
Dirk Delabastita 129

1.2. Puns in texts

Puns are textual phenomena. True, they are facts of language insofar as they
depend on the structural characteristics o f language as an abstract system. But
then, language in its totality is a tangle o f potential ambiguities and associa­
tions, which are not normally perceived as significant in ‘ordinary’, non-punning
discourse. For this massive dormant associative power of words and structures
to become effective, they need to be employed in specially contrived textual
settings. In horizontal wordplay, the mere nearness o f the pun components may
suffice to bring about the semantic confrontation; in addition, grammatical and
other devices are often used to highlight the pun. In vertical wordplay one of
the pun’s components is materially absent from the text and has to be triggered
into semantic action by contextual constraints. In non-punning discourse, the
human mind, striving for single and coherent interpretations, uses contextual
clues to filter out ‘irrelevant’ associations, but in the vertical pun a double
context is constructed which blocks this disambiguating mechanism and actu­
ally calls forth the double reading.
Contexts can be verbal or situational. Verbal contexts follow from our ex­
pectation o f grammatical well-formedness (thus, the fact that certain word
classes are normally used in certain syntactic positions only will tend to block
a reading o f can as a verb in a phrase like ‘a can o f lager’) and of thematic
coherence (with the reader looking for the ‘threads’ o f meaning that connect
words and phrases and so make up the fabric o f the text). The contextual func­
tion may also be performed by the conventional coherence of phrases such as
titles, collocations (i.e. combinations of words which occur together regularly),
proverbs, and the like. Ritva Leppihalme’s paper (in this issue) deals specifi­
cally with this type o f wordplay. For example:

• En attendant dodo (title of French article expressing the reviewer’s

boredom with a performance of Samuel Beckett’s play entitled En
attendant Godot, dodo being French baby talk for sleep)
• Handel with care (title of an appreciative music review, based on the
collocation handle with care)
• New whine in old bottles (based on the proverb Do not put new wine
into old bottles)

Situational contexts are often crucial to the functioning of the pun in dialogue
situations and in multimedia texts: an example of the latter is the visual image
in punning advertisements, cartoons or comic strips serving to activate a sec­
ondary meaning o f the accompanying verbal text.
Last but not least, puns do not only exist by virtue o f texts (witness the role
of contextual constraints and of wordplay signals), they will also function within
them in a variety o f ways. Possible functions include adding to the thematic
coherence o f the text, producing humour, forcing the reader/listener into greater
attention, adding persuasive force to the statement, deceiving our socially
130 Introduction

conditioned reflex against sexual and other taboo themes, and so forth.

1.3. Linguistic structure

The linguistic features exploited by the punster include the following:

• Phonological and graphological structure: languages use a very limited

number o f phonemes (i.e. sounds capable o f generating meaning dif­
ference) and graphemes (letters), which can moreover occur in certain
combinations only. So there are bound to be many pairs of totally unrelated
words which nevertheless have a similar or even identical form. In so-
called ‘soundplay’ (which, incidentally, borders on alliteration, assonance
and consonance), sound provides the basis for the verbal association (for
example, Love at first bite, punningly derived from love at first sight),
whereas anagrammatic wordplay is based on spelling {Madame Curie:
radium came).
• Lexical structure {polysemy): languages contain many polysemous words,
i.e. words having different meanings which usually derive from the same
semantic root and are still felt to be related, for instance through metonymy
(as in Bilingualism: tongues meeting in lovers' mouths), m etaphor
{What's this that got a heart in its head? A lettuce), or specialization
{Surfers do it standing up).
• Lexical structure {idiom): languages contain many idioms, i.e. word com­
binations that have a sum meaning that is historically based on, but can
no longer be reduced to the combinations of their component meanings.
It is the distance between the ‘norm al’, non-compositional meaning of
idioms and their ‘literal’ or compositional reading that offers opportunity
for wordplay (as in Britain going metric: give them an inch and they 7/
take our mile).
• Morphological structure: many derivatives and compounds end up be­
coming part o f the vocabulary and may in that process lose some o f their
original transparency. For example, most people today would intuitively
construe a word such as breakfast as a single morpheme or unanalyzable
word and not as the compound it really is, historically speaking. The
result is a distinction between the accepted total meaning o f such words
and their meaning when interpreted in terms o f the component words and
morphological rules (for example ‘7 c a n ’t fin d the oranges ”, said Tom
fruitlessly). In most morphological puns words are construed as com­
pounds or derivatives in a way which is etymologically ‘incorrect’ but
semantically effective (as in Is life worth living? It depends upon the
liver).
• Syntactic structure: grammars will often generate phrases or sentences
that can be parsed in more than one way. Thus, the publicity slogan
Dirk Delabastita 131

Players Please can be read as either a request to a shop assistant, or a

statement in praise o f this brand o f cigarettes.

It should be pointed out that often two or more o f the above features o f lan­
guage are harnessed simultaneously in order to obtain one single pun. Also,
many punsters have been known to combine linguistic material from two or
even more languages. Texts as wide apart as the TV comedy series ‘A lio (Allo
and James Joyce’s Finnegans Wake have indulged in such bilingual or even
multilingual wordplay. In fact, as Tace Hedrick (in this issue) explains, this
kind o f wordplay can be crucial for the aesthetic effect and implied political
message o f a poetic tradition, in this case Chicano bilingual poetry.
Finally, Sean Golden’s article (in this issue) on the translation of polysemy
in ancient Chinese texts should serve as a reminder that the linguistic categories
I have just mentioned are not necessarily relevant to wordplay in non-W estem
languages, or relevant to the same extent and in the same way as they are in
English, Spanish, German, etc. In point o f fact, it is easy enough for a linguist
to demonstrate that there are structural differences even between Western
languages which may affect the formation of puns in them; for example, English
has a higher proportion o f monosyllabic words, has fewer declensions and
conjugations, and can more easily make nouns out o f verbs and verbs out of
nouns than, say, Dutch or French. This fact should suffice to alert us to the
possibility that other, more distant languages and language groups may operate
with more radically different categories, not only giving rise to other pun-
forming techniques, but perhaps also entailing more profound differences in
the perception and understanding o f texts and the operation of language. For
this reason, the student o f the pun could do worse than draw on the insights
provided by the comparative, historical and general branches o f linguistics in
trying to present an accurate and factually correct account of the main issues.
To be sure, as is implied in sections 1.2. and 1.4, linguistics will never have
the last word about wordplay and its translation. But insofar as a particular
linguistic structure determines the punster’s and the translator’s range o f
possible rhetorical action, linguistic structure may well be where every analysis
should begin.

1.4. Communicative significance

The distinctions made so far fail to distinguish between wordplay and uninten­
tional ambiguities, awkward repetitions and jingles, slips o f the pen and o f the
tongue, malapropisms, and the like. And yet this distinction is vital enough,
since what it boils down to is the difference between rhetorical skill (the pun
as a communicative device) and the unfortunate display of incompetence or
inattention (Freudian slips, etc. as obstacles to communication). This is the
question o f communicative significance in my definition above. Many dis­
cussions o f this problem fall back on the notion o f authorial intention: a pun is
132 Introduction

communicatively significant if and when it is intended as such. Other critics

rather eschew the element o f subjectivism inherent in what they regard as the
‘intentional fallacy’, and their answer is to scrutinize the text and its imme­
diate context for wordplay signals, i.e. objective indications pointing to the
wordplay. At the end o f the day these two criteria are not all that different, as
signals can be viewed as signposts notifying text recipients o f the sender’s
intention. At any rate, even though both criteria allow one to make interesting
analyses, they will let readers (including, of course, translators and students of
translation) down when it comes to assessing those cases of possible vertical
ambiguity where straightforward, unmistakable signals are missing for any o f
a wide range o f possible reasons. Interpretive problems o f this kind are bound
to become quite acute in several categories o f texts:

• Written records o f oral texts: contexts and signals are often non-verbal
and are thus in serious danger o f not being recorded and o f getting lost in
the transmission process. Moreover, in semi-literate and oral cultures
there is generally a weaker sense of word boundaries and word identity,
which promotes greater associative freedom.
• Experimental, ‘open’ texts, such as Joyce’s Finnegans Wake: here the
contexts themselves are too full o f effective or potential ambiguity and
wordplay to be of any help in deciding which associations and double
meanings are ‘relevant’ to the text and which are merely ‘m isleading’.
• Older texts: our grasp o f the semantic range of words in historical texts
is usually less firm, contexts or signals of intended wordplay may have
been obscured by the passage of time and by changing conventions, or
conversely, the latter may ‘falsely’ create wordplay that was not there
originally.

Where does the borderline lie between perceptive reading and perversely
ingenious punhunting? Can one trust there to be a safe via media between
underreading and overreading? While this question is impossible to answer in
these few lines, its obvious importance for translators and translation scholars
alike must be noted, especially as it has been consistently overlooked so far. In
the final analysis, I believe one must come to the conclusion that puns are not
necessarily given once and for all. Their recognition and appreciation largely
depend on the reading habits o f the text user, which are in their turn closely
linked to genre conventions and conceptions o f language. That this definitely
lends a more fluid and historically variable character to what we call the
‘original’ or the ‘source text’ (with the familiar look o f these words reassuring
us o f the fixed and permanent identity we ascribe to it) is a consequence that
merits further contemplation.

2. W ordplay, ambiguity and the translator

It is a well-known fact that French translators have to choose between tu and

Dirk Delabastita 133

vous for their rendering of you, and between connaitre and savoir for English
to know . Such cases are sometimes referred to as ‘interlingual am biguities’,
but this term stretches the notion o f ambiguity really too far. To take a familiar
example, the mere fact that words such as ice or snow can have (say) nine
possible equivalents in an Eskimo language does not endow them with nine­
fold ambiguity in English; all one can say here is that these English words
have rather less specific meanings than speakers o f certain other languages
would wash for. Translators have to make choices o f this kind all the time: the
need for such choices is a consequence of the absence of one-to-one equiva­
lence between languages.

2.1. Spotting and translating puns and ambiguities

Focusing on wordplay and ambiguity as facts o f the source text and/or the
target text, we may be tempted to say that wordplay and translation form an
almost impossible match, whichever way one looks at it. On the one hand,
when the wordplay is non-significant or unintended, translators are generally
expected to do the writer of the original a service by ridding the text o f it - and
o f course by avoiding any clumsiness themselves in the formulation o f their
end-product. Such disambiguation as the original text may require mostly takes
the form o f an automatic and unconscious process where the contextually most
appropriate reading o f a potential ambiguity is selected even before the trans­
lator has had the time or opportunity to consider the plausibility of other possible
readings.
The great facility with which we handle non-significant wordplay may well
make us forget the wide scope and dazzling complexity of these processes.
Such oversight is a luxury researchers in Machine Translation wish they could
afford, for one of their most difficult tasks is precisely to devise algorithms
that can simulate the hermeneutical operation o f disambiguation. The am­
biguities to be solved by automatic parsers are as numerous as they look
unexpected and absurdly trivial from the viewpoint o f the ordinary language
user: indeed, the inconvenience o f potential ambiguity occurs whenever a word
(or string o f words) in the source text is a homograph o f a word (or string of
words) with a different meaning. If disambiguation basically consists in bring­
ing text units into line with their context (which involves the recognition of
contexts and the implementation o f appropriate selection procedures), one can
readily see that non-verbal contexts in particular are prone to present serious
difficulties to translation machines. Can computers be designed and program­
med to make relevant observations about the situational context of a phrase
and then make the correct inferences? Not surprisingly, the resolution o f non­
significant ambiguity has been a central concern, not to say the bane o f machine
translation since its inception.
On the other hand, it is usually claimed that significant wordplay in the
134 Introduction

original text has to be preserved rather than eliminated, but here the snag is
that it often seems to defy any attempt to that effect. By saying this, I am not
endorsing the often held view that wordplay is untranslatable. In point o f fact,
a wide range o f translation methods are at the translator’s disposal:

• P U N -» PUN: the source-text pun is translated by a target-language pun,

which may be more or less different from the original wordplay in terms
o f formal structure, semantic structure, or textual function
• P U N -» NON-PUN: the pun is rendered by a non-punning phrase which
may salvage both senses of the wordplay but in a non-punning conjunc­
tion, or select one o f the senses at the cost of suppressing the other; of
course, it may also occur that both components of the pun are translated
‘beyond recognition’
• PU N ~^ RELATED RHETORICAL DEVICE: the pun is replaced by some
wordplay-related rhetorical device (repetition, alliteration, rhyme, refer­
ential vagueness, irony, paradox, etc.) which aims to recapture the effect
o f the source-text pun
• P U N -» ZERO: the portion of text containing the pun is simply omitted
P U N ST = PU N TT: the translator reproduces the source-text pun and
possibly its immediate environment in its original formulation, i.e. with­
out actually ‘translating’ it
• NON-PUN -> PUN: the translator introduces a pun in textual positions
where the original text has no wordplay, by way o f compensation to make
up for source-text puns lost elsewhere, or for any other reason
• ZERO —» PUN: totally new textual material is added, which contains
wordplay and which has no apparent precedent or justification in the source
text except as a compensatory device
• EDITORIAL TECHNIQUES: explanatory footnotes or endnotes, com­
ments provided in translators’ forewords, the ‘anthological’ presentation
o f different, supposedly complementary solutions to one and the same
source-text problem, and so forth.

All these techniques can moreover be combined in a variety o f ways: witness

the typical example o f a pun being suppressed (PUN -» NON-PUN), with a
footnote explaining what was left out and why (EDITORIAL TECHNIQUE)
and with a compensatory pun elsewhere (NO N-PU N-» PUN).

2.2. Translatability

What is really meant, o f course, when people claim that wordplay is ‘untrans­
latable’ is that none o f the above-mentioned solutions meets their requirements
o f translation equivalence. Wordplay may indeed lend itself to various kinds
o f interlingual writing, so their argument goes, but these are just not good
enough to qualify as ‘genuine’ translation. Many critics are in this way unwill­
Dirk Delabastita 135

ing to envisage (say) P U N -+ ZERO, P U N —> EXPLANATORY FOOTNOTE

or NON-PUN -> P U N renderings as possible, let alone legitimate translation
techniques (thereby ignoring that in real life the most renowned translators
have often resorted to them). Indeed, many will already be troubled by the fact
that PU N —» P U N renderings as a rule involve noticeable translation shifts.
Such shifts may affect the pun’s formal structure, its linguistic make-up, or its
meaning content. Sometimes even its immediate or wider textual environment
has to be altered, namely when a new contextual setting has to be created for
the target-text wordplay to come to life.
Source-oriented translators tend to perceive this state of affairs in terms of
a dilemma, the uncomfortable choice being between giving the wordplay up in
its original textual position and somehow providing a more or less free adapta­
tion. In other words, the only way to be faithful to the original text (i.e. to its
verbal playfulness) is paradoxically to be unfaithful to it (i.e. to its vocabulary
and grammar). Source-oriented translators caught up in this double-bind situa­
tion are in effect forced into momentarily lifting the requirement o f fidelity and
leaving the matter to be decided by pragmatic considerations. Time pressure
may be an important factor here; time usually being at a premium for transla­
tors, they will often go for the first more or less acceptable solution that crosses
their mind. Also, personal taste and a greater than usual willingness to accom­
modate target-audience expectations will be permitted to intrude for a moment
on the translator’s basic commitment to the exact reproduction o f the source
text, precisely insofar as this commitment confronts the translator with the
awkward or even impossible dilemma between ‘loss’ and ‘adaptation’ o f the
pun. Can the translator allow him/herself to get carried away by free verbal
associations without jeopardizing the text’s chances of favourable acceptance,
or is it indeed safer to play the punning down? In this way, when the wordplay
is bawdy, the ‘untranslatability’ of the pun can easily become the foolproof
pretext for toning down the sexual content o f the passage.
An important remark is in order here. While it is of course true that many
puns cannot be transposed without substantial modifications and will accord­
ingly bring the source-oriented translator face to face with the dilemma just
described, this is by no means always the case. The following three observa­
tions serve to illustrate that certain categories of puns can with some precision
be predicted to have a potential for being reproducible in other languages:

• Wordplay based on sound similarity stands a higher chance o f being re­

peatable with minor shifts if the translation occurs between historically
related languages: witness Dutch Het belang van Ernst for The Impor­
tance o f Being Earnest.
• Since polysemy is somehow rooted in extralingual reality, wordplay based
on it can occasionally be reduplicated with little loss even between his­
torically unrelated languages: this factor guarantees the relatively easy
136 Introduction

passage o f puns such as Diplomats will betray anything except their

emotions into various languages (for example French: Les diplomates
trahissent tout excepte leurs emotions).
• Whatever the type of wordplay, the reproducibility o f wordplay will be
higher if it somehow involves interlingual borrowings common to both
the target language and source language. It is a well-known fact that the
Greco-Latin substratum of most European languages often stands the
wordplay translator in good stead to the point where translation seems
hardly necessary or even where there is no knowing what language the
translation has to be done from . Not surprisingly, this is the case with
certain playful mark or brand names that fit into an international m arket­
ing strategy. Here are two examples to be found on roads worldwide:
TRANS SPORT (trans/sport + transport) and LARGO (large + cargo),
both names o f a type o f vehicle.

Such characteristics may of course occur together. Thus, the importation o f the
Greco-Latin root aristo into both English and Dutch (third factor above), com­
bines with the common Germanic past of both languages (first factor) to explain
why the punning title of the Disney-film The Aristocats loses none o f its effect
in Dutch: De Aristokatten.

3. The papers in this special issue

All the articles in this special issue were written specifically in response to a
call for papers first issued some two years ago. The review sections o f this
issue (Revisiting the Classics, Book Reviews), too, remain quite sharply fo­
cused on the theme o f wordplay and translation, and so does the Course Profile
article, where Michel Ballard discusses the ways in which wordplay and am­
biguity can be o f didactic benefit in the training o f translators. This number is
concluded by a bibliography, which is intended as an ‘open ending’ in the
sense that it will hopefully stimulate further and original research.
The articles printed here represent a selection from the material submitted
to the editor, which was so abundant that even this specially extended issue
can only accommodate less than half of it. Papers not included here will shortly
become available in a book that is best described as a companion volume to
the present special issue (Delabastita, in press). They deal with a variety of
subjects, including the translation of spoonerisms, of puns in feminist discourse,
and o f the complex language games in Douglas Hofstadter’s Godel, Escher,
Bach; other papers deal with the rendering o f Shakespearean puns, o f Biblical
wordplay, o f a Hebrew experimental text, and o f punning dialogues in TV
subtitling; three further papers explore what contribution deconstruction, cog­
nitive linguistics, and contrastive linguistics can make to the debate, while yet
another paper sheds light on the links between wordplay, translation, cliches
and plagiarism.
Dirk Delabastita 137

The articles included here were chosen to cover a wide range of languages,
textual practices, and theoretical viewpoints. Sean Golden’s paper initiates
the reader into the forms and functions o f wordplay in ancient Chinese texts
and the specific difficulties they represent for the Western reader and transla­
tor. Among other things, the paper implies a salutary warning against any
Eurocentric complacency, in this case against the tempting assumption that
our Western linguistic and rhetorical systems - and the way of thinking they
express - have universal value. Like Golden’s paper, Ritva Leppihalme’s
article deals with the much under-researched topic of the hermeneutics of reading
and interpreting the wordplay in the original text. The author uses an experi­
mental method to assess the difficulties that non-native readers - prospective
translators - have in grasping the wordplay in contemporary modem English
fiction and journalism. The puns Leppihalme investigates all involve an allu­
sion to some preformed phrase (idiom, proverb, title, etc.), which o f course has
to be recognized for the wordplay to come to life.
Several examples discussed by Michel Ballard in his didactically oriented
paper suggest an uncanny resemblance between translation howlers and
bilingual wordplay. Tace Hedrick analyzes how various types o f deliberate
interference between Spanish and English are used by contemporary Chicano
poets in the States to write a poetry in which wordplay and the tension and
crossings over between English and Spanish create humorous, poetic and
polemical effects. Hedrick considers the difficulty of translating such bilingual
and punning poetry monolingually, say into English; however, drawing on
W alter Benjamin, sociolinguistics and post-colonial theory, she puts the
emphasis on how this poetry implies a politically loaded critique of the standard
transactions, translational ones and others, between English and Spanish in
the American social context.
Cultural politics is not absent from Rachel W eissbrod’s paper, either.
Weissbrod investigates Hebrew translations o f Lewis Carroll’s A lice's A d­
ventures into Wonderland. Along with the comic strip Asterix, Shakespeare,
Joyce, the Bible and a few others, Carroll occupies an important place in the
secondary bibliography, so that Weissbrod’s choice o f topic might seem rather
conventional. The author does not content herself, however, with illustrating
the ingenuity o f Carroll or the (lack of) resourcefulness of his translators. Tak­
ing Gideon Toury’s work as her starting point, Weissbrod rather sets out to
reconstruct the norms that have guided the Hebrew translators in their treat­
ment o f the puns in Alice. Clearly, the linguistic, technical difficulties o f
translating wordplay are only part o f the story. Luca Manini, too, takes a
refreshing look at what might seem a well-known problem: the translation o f
meaningful character names, which in literary texts often border on wordplay.
The author presents a typology o f character names and reviews the problem of
their theoretical translatability, but most o f the article reports on an empirical
study into how twentieth-century Italian translators have rendered meaningful
138 Introduction

names in a two-part corpus of English literary texts: Restoration comedies and

Dickens’s novels. As in Rachel W eissbrod’s paper, this involves the consid­
eration o f target-culture norms.
Edoardo Crisafulli revisits the question of compensation. Compensation
is a translational strategy typically employed when source-text puns resist a
more ‘straightforward’ rendering into the target language, as was illustrated
by Harvey’s paper in an earlier issue of The Translator (1995) - a paper that
Crisafulli returns to. Taking as a starting point H. F. Cary’s early-nineteenth-
century translation o f the Divina Commedia, more specifically his treatment
o f Dante’s puns, Crisafulli looks into some of the tacit assumptions that under­
lie compensation as a descriptive or explanatory principle (e.g. assumptions
concerning authorial intention and the source-text’s unity o f design). From
there he goes on to suggest ways in which compensation can be developed into
a more precise and more operational concept.
In their respective papers, Patrick Zabalbeascoa and Sergio Viaggio study
the translation o f wordplay in communicative settings somehow different from
the model o f written and verbal-only communication that serves as basic pa­
rameter in most other case-studies in this special issue. Both papers also attempt
to make a number o f practical recommendations. Zabalbeascoa explores how
the wordplay in English TV comedy series fares in the dubbed versions for
Catalan and Spanish channels. He considers the complex network o f possible
priorities and restrictions within which translators in real life have to conduct
their delicate negotiations between the source text and the target audience.
Zabalbeascoa draws attention to certain very down-to-earth factors which never­
theless have a great impact on the quality o f TV translation, such as time
pressure, the possibility o f teamwork, adequate training, and the availability
o f a specialized in-house ‘stylebook’. Sergio Viaggio deals with how confer­
ence interpreters can, and should, deal with wordplay and with the related
problem of metalingual use (i.e. utterances that make language itself the object
o f the discourse). The situation o f the interpreter is peculiar in various re­
spects; for example, he or she has to work in real time and has to cope with the
complicating factor o f the original speaker and the target-language audience
being co-present. Viaggio distinguishes six parameters affecting the rendition
o f stylistic markers in the booth and goes on to apply these to some real-life
examples from the author’s personal experience at the United Nations.

Acknowledgements

I would like to thank all contributors for the great effort they put into writing
and revising their papers. Much o f the revising happened on the insightful re­
commendations o f the external reviewers; thanks are therefore due to Theo
Hermans and Paul Kussmaul, as well as to the other, anonymous referees. I
also want to record my gratitude to the Arts Faculty of the Facultes Univer-
Dirk Delabastita 139

sitaires Notre-Dame de la Paix, Namur, whose generous financial help en­

abled us to prepare this kingsize extended issue. Last but not least, this issue
owes much to the wise suggestions and hard work o f Mona Baker.
I want to dedicate this special issue to the memory o f Professor Andre
Lefevere (1945-1996) in acknowledgment o f his important role as an ener­
getic promoter of Translation Studies worldwide and as an inspired and inspiring
researcher.

DIRK DELABASTITA
Facultes Universitaires Notre-Dame de la Paix, Departement d ’anglais, Rue
de Bruxelles 61, 5000 Namur, Belgium

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Seleskovitch, Danica and Marianne Lederer (1986a) Interpreter pour traduire, Paris: Didier
Erudition.
Seleskovitch, Danica and Marianne Lederer (1986b) La traduction simultanée, experience et
théorie, Paris: Didier Erudition.
Seleskovitch, Danica and Marianne Lederer (1989) Pédagogie raisonnėe de l’interprétation,
Paris: Didier Erudition.
Tirkkonen-Condit, Sonja (1992) ‘A Theoretical Account of Translation Without Translation
Theory?’, Target 4(2): 237–245.
Viaggio, Sergio (1992a) ‘Few Ad Libs on Communicative and Semantic Translation,
Translators, Interpreters, their Teachers and their Schools’, Meta 37(2): 278–288.
Viaggio, Sergio (1992b) ‘Teaching Beginners to Shut Up and Listen’, The Interpreters’
Newsletter 4: 45–54.
Viaggio, Sergio (1992c) ‘Contesting Peter Newmark’, Rivista internazionale di tecnica della
traduzione 0: 27–60.
Viaggio, Sergio (1992d) ‘Translators and Interpreters: Professionals or Shoemakers?’, in Cay
Dollerup and Annette Loddegaard (eds) Teaching Translation and Interpreting. Training, Talent
and Experience, Amsterdam ampentity Philadelphia: John Benjamins.
Viaggio, Sergio (1995) ‘Translators and Interpreters: Can They Be Friends?’, Rivista
internazionale di tecnica della traduzione 1: 23–33.
Viaggio, Sergio (Forthcoming) ‘Towards a More Precise Distinction Between Context and
Situation, Intention and Sense’, Parallèles.

Caught in the Frame

Anonymous/unsigned (1989) ‘From hero to celebrity’, The Economist, 1.4.1989, p. 35.
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Ellmann, Lucy (1989) ‘Judicial violation of a mother's fight for right’, The Guardian, 23.1.1989, p.
25.
Gosling, Paula (1992) Death Penalties, London: Pan Books.
Hill, Reginald (1995) Pictures of Perfection, London: HarperCollins.
Lodge, David (1975/1979) Changing Places, Harmondsworth: Penguin.
Moody, Susan (1985) Penny Post, London: Macmillan.
Reed, J. D. (1989) ‘A Struggle for Splintsville's Bucks’, Time, 9.1.1989, p. 33.
Tweedie, Jill (1983) Letters from a Faint-Hearted Feminist, London: Picador/Pan Books.
Archer, Carol M. (1986) ‘Culture bump and beyond’, in Joyce Merrill Valdes (ed) Culture Bound.
Bridging the cultural gap in language teaching, Cambridge: Cambridge University Press,
170–178.
Baker, Mona (1992) In Other Words: A Coursebook on Translation, London ampentity New
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Ben-Porat, Ziva (1976) ‘The Poetics of Literary Allusion’, PTL: A Journal for Descriptive Poetics
and Theory of Literature 1: 105–128.
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Penguin.
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its Translations’, Target 3(2): 175–206.
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Harvey, Keith (1995) ‘A Descriptive Framework for Compensation’, The Translator 1(1): 65–86.
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van Leuven-Zwart and Ton Naaijkens (eds) Translation Studies: The State of the Art.
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in the mother-tongue examination), Helsingin Sanomat 2.4.1990, A12.
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95–106.
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und Kriterien für eine sachgerechte Beurteilung von Übersetzungen, München: Max Hueber.
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‘Curiouser and Curiouser’: Hebrew Translations of Wordplay in Alice's

Adventures in Wonderland
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Journal of Applied Linguistics 13(2).

Translating Jokes for Dubbed Television Situation Comedies

Ballard, Michel (1991) Elements pour une didactique de la traduction. These de Doctorat d’Etat,
Université de Paris II – Sorbonne Nouvelle: Institut du Monde anglophone.
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Danan, Martine (1991) ‘Dubbing as an Expression of Nationalism’, Meta 36(4): 606–614.
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Vöge, Hans (1977) ‘The Translation of Films: Sub-titling versus Dubbing’, Babel 23(3):
120–125.
Zabalbeascoa, Patrick (1994a) ‘Factors in Dubbing Television Comedy’, Perspectives. Studies
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161–175.
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Christine Pagnoulle (eds) Cross Words. Issues and Debates in Literary and Non-Literary
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Dante's Puns in English and the Question of Compensation

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No-Man's Land on the Common Borders of Linguistics, Philosophy
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Revisiting the Classics

Aaltonen, Sirkku . Acculturation of the Other. Irish Milieux in Finnish Drama Translation
(University of Joensuu Publications in the Humanities, No. 17), Joensuu University Press, 1996.
ISBN 952-9800-10-X.
Ballard, Michel ampentity Lieven d’Hulst . La Traduction en France à l’Âge Classique, Presses
Universitaires du Septentrion, 1996. ISBN 2-86531-070-1. FF 150.
Banting, Pamela . Body, Inc. A Theory of Translation Poetics, Turnstone Press, Canada, 1995.
ISBN 0-88801-190-3. $16.95 Cdn./$14.95 US.
Beeby Lonsdale, Allison . Teaching Translation from Spanish to English. Worlds beyond Words
(Didactics of Translation), University of Ottawa Press, 1996. ISBN 0-7766-0399-X. $29 Cdn.
Colin, Joan ampentity Ruth Morris . Interpreters and the Legal Process, Waterside Press, 1996.
ISBN 1-872-870-28-7. £12.
Cronin, Michael . Translating Ireland. Translation, Languages, Cultures, Cork University Press,
1996. ISBN 1-85918-019-1.
Dingwaney, Anuradha ampentity Carol Maier (eds). Between Languages and Cultures.
Translation and Cross-Cultural Texts, University of Pittsburgh Press, 1995. ISBN 0-8229-3858-
8/0-8229-5541-5. $49.95/$ 19.95.
Dollerup, Cay ampentity Vibeke Appel (eds). Teaching Translation and Interpreting 3. New
Horizons. Papers from the Third Language International Conference, John Benjamins, 1996.
ISBN 90-272-1617-7. Hfl. 125/$69.
Gambier, Yves (ed). Les Transferts Linquistiques dans les Médias Audiovisuels, Presses
Universitaires du Septentrion, 1996. ISBN 2-85939-489-3. FF 140.
Gentile, Adolfo , Uldis Ozolins ampentity Mary Vasilakakos . Liaison Interpreting. A Handbook,
Melbourne University Press, 1996. ISBN 0-522-84581-9. $24.95 Aust.
Gutknecht, Christoph ampentity Lutz J. Rölle . Translating by Factors, State University of New
York Press, 1996. ISBN 0-7914-2958-X. $23.95.
Harris, Geoffrey (ed). On Translating French Literature and Film, Rodopi, 1996. ISBN 90-5183-
933-2.
Jansen, Peter (ed). Translation and the Manipulation of Discourse. Selected Papers of the
CERA Research Seminars in Translation Studies 1992–1993, The Leuven Research Center for
Translation (CETRA), 1995.
Lauer, Angelika , Heidrun Gerzymisch-Arbogast , Johann Haller ampentity Erich Steiner (eds).
Übersetzungswissenschaft im Umbruch. Festschrift für Wilss zum 70. Geburtstag, Gunter Narr,
1996. ISBN 3-8233-5160-5. DM 178.
Robinson, Douglas . Translation and Taboo, Northern Illinois University Press, 1996. ISBN 0-
87580-209-5/0-87580-571-X. $35/$18.50.
Simon, Sherry . Gender in Translation. Cultural Identity and the Politics of Transmission,
Routledge, 1996. ISBN 0-415-11536-1. £12.99.
Sorvali, Irma . Translation Studies in a New Perspective, Peter Lang, 1996. ISBN 3-631-49446-
7. £20/$32.95/DM 49.
Taylor, Jane , Edith McMorran ampentity Guy Leclercq (eds). Translation: Here and There, Now
and Then, Elm Bank Publications, 1996. ISBN 0-9502595-6-X. £24.99.
Totzeva, Sophia . Das theatrale Potential des dramatischen Textes. Ein Beitrag zur Theorie von
Drama und Dramenübersetzung (Forum Modernes Theater, Band 19), Gunter Narr, 1995. ISBN
3-8233-4039-5. DM 98.
Wilss, Wolfram . Knowledge and Skills in Translator Behavior, John Benjamins, 1996. ISBN 90-
272-1615-0. Hfl. 140/$79.

Book Reviews
Bloom, Harold (1975) A Map of Misreading, New York ampentity Oxford: Oxford University
Press.
Deleuze, Gilles (1993) Critique et clinique, Paris: Editions de Minuit; translation forthcoming at
the University of Minnesota Press, 1997.
Freud, Sigmund (1905/1976) Jokes and their Relations to the Unconscious, Harmondsworth:
Penguin.
Martin, Henry-Jean (1994) The History and Power of Writing, Chicago: University of Chicago
Press.
Delabastita, Dirk (1993) There's a Double Tongue. An Investigation into the Translation of
Shakespeare's Wordplay, Amsterdam ampentity Atlanta: Rodopi.
Eco, Umberto (1976) A Theory of Semiotics, Bloomington: The University of Indiana Press.
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langage, Paris: Hachette; trans. Larry Crist et al. as Semiotics and Language: An Analytical
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Toury, Gideon (1985) ‘A Rationale for Descriptive Translation Studies’, in Theo Hermans (ed)
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Toury, Gideon (1995) Descriptive Translation Studies and Beyond, Amsterdam ampentity
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Course Profile
The Holy Bible. Authorized King James Version (1975), Oxford: Oxford University Press.
Missel Quotidien des Fidèles (1947), Tours: Maison Mame.
Nouveau Testament Interlinéaire, grec/français (1993), Villiers-le-Bel: Alliance Biblique
Universelle.
Die Bibel in heutigem Deutsch (1982), Stuttgart: Deutsche Bibelgesellschaft.
La Sainte Bible. Nouveau Testament (1964), trans. Louis Segond , Genève: La Maison de la
Bible.
Groot Nieuws Bijbel Vertaling in omgangstaal (1984), Haarlem: Nederlands Bijbelgenootschap.
Carroll, Lewis (1865/1964) Alice's Adventures in Wonderland. Through the Looking-Glass,
London: Dent.
Carroll, Lewis (1961/1982) Alice au pays des merveilles, trans. Jacques Papy , Paris: Folio
Junior.
Carroll, Lewis (1970) Alice's Adventures in Wonderland. Les aventures d’Alice au pays des
merveilles, ed. Jean Gattégno , trans. Henri Parisot , Paris: Aubier-Flammarion.
Gissing, George (1891/1968) New Grub Street, Harmondsworth: Penguin.
Gissing, George (1978) La nouvelle bohême, trans. Suzanne Calbris and Pierre Coustillas ,
Lille: P.U.L.
Golding, William (1954/1965) Lord of the Flies, Harmondsworth: Penguin.
Joyce, James (1914/1970) ‘The Dead’, in Dubliners, Harmondsworth: Penguin.
Joyce, James (1980) ‘Les morts’, in Gens de Dublin, trans. Yva Fernandez , Paris: Plon.
Le Carré, John (1963/1978) The Spy Who Came in from the Cold, New York: Bantam Books.
Shakespeare, William (1963a) Richard III, trans. Pierre Leyris , in Shakespeare 1963d:II.
Shakespeare, William (1963b) Love's Labour's Lost, trans. Yves Bonnefoy , in Shakespeare
1963d.III.
Shakespeare, William (1963c) Hamlet, trans. Yves Bonnefoy , in Shakespeare 1963d:VII.
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Pierre Leyris , Paris: Le Club Français du Livre.
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Harmondsworth: Penguin Books.
Shakespeare, William (n.d.) (first performance July 1980) Peines d’Amour Perdues, trans. Jean-
Michel Déprats , Paris: Edit 71.
Waugh, Evelyn (1948/1966) The Loved One, Harmondsworth: Penguin.
Ballard, Michel (1989) ‘Effets d’humour, ambiguïté et didactique de la traduction’, Meta 34(l):
20–25.
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Lille: P.U.L., 153–174.
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Université de Paris III – Sorbonne Nouvelle, Institut du Monde Anglophone.
Ballard, Michel (1993) ‘Lunité de traduction: Essai de redefinition d’un concept’, in Michel
Ballard (ed) La traduction à l’université, Lille: P.U.L., 223–262.
Ballard, Michel (1987/1995) La Traduction: de l’anglais au français; revised edition, Paris:
Nathan.
Delabastita, Dirk (1993) There's a Double Tongue. An Investigation into the Translation of
Shakespeare's Wordplay, Amsterdam ampentity Atlanta: Rodopi.
Delabastita, Dirk (1994) ‘Focus on the Pun: Wordplay as a Special Problem in Translation
Studies’, Target 6(2): 223–243.
Jakobson, Roman (1959) ‘On linguistic aspects of translation’, in Reuben A. Brower (ed) On
Translation, Cambridge, Mass.: Harvard U.P., 232–239.
Landheer, Ronald (1984) Aspects linguistiques et pragmatico-rhétoriques de l’ambiguïté, Ph.D.
Thesis, Rijks Universiteit Leiden.
Landheer, Ronald (1989) ‘L’ambiguïté: un défi traductologique’, Meta 34(1): 33–43.
Vinay, Jean-Paul and Jean Darbelnet (1995) Comparative Stylistics of French and English. A
methodology for Translation, trans. Juan C. Sager and M.-J. Hamel , Amsterdam ampentity
Philadelphia: John Benjamins.
Wilss, Wolfram (1982) The Science of Translation. Problems and Methods, Tübingen: Gunter
Narr.