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Table 1. Frequency of translation strategies of allusive humour in Season 5 of The Simpsons In case of intertextuality, minimal change is not necessarily the most effective strategy. While it mostly works for biblical allusions (e.g., [5; 1; 02:11]), minimal change results in loss of meaning of language-specific, culturally bound proverbs (e.g., [5; 13; 04:09]). Thus, replacement techniques also become functionally equivalent in many contexts. On the other hand, omission and overt explanation always imply a loss of allusion and humorous effect, depriving the audience of an opportunity to decode the author’s pragmatic intention. Even though the corpus of this study is not sufficient to generalize the findings, it allows for rejecting the initial hypothesis about a potential similarity between strategies used in Russian and Ukrainian translations and their core distinction from ones used in German. Translation of allusions in The Simpsons is potentially linked to the translator’s background knowledge and creativity more than to the genealogical distance between the SL and TL.

Table 1 Frequency of translation strategies of allusive humour in Season 5 of The Simpsons In case of intertextuality, minimal change is not necessarily the most effective strategy. While it mostly works for biblical allusions (e.g., [5; 1; 02:11]), minimal change results in loss of meaning of language-specific, culturally bound proverbs (e.g., [5; 13; 04:09]). Thus, replacement techniques also become functionally equivalent in many contexts. On the other hand, omission and overt explanation always imply a loss of allusion and humorous effect, depriving the audience of an opportunity to decode the author’s pragmatic intention. Even though the corpus of this study is not sufficient to generalize the findings, it allows for rejecting the initial hypothesis about a potential similarity between strategies used in Russian and Ukrainian translations and their core distinction from ones used in German. Translation of allusions in The Simpsons is potentially linked to the translator’s background knowledge and creativity more than to the genealogical distance between the SL and TL.

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lo ensure an efficient translation of a humorous scene, one should aim to preserve the top levels and be ready to sacrifice the lower levels. LA is always sacrificed in translation — since qumour is to be conveyed by means of a different tongue, this KR is bound to change. Ideally, he other five KRs should be preserved to allow for a conclusion of adequate translation of a qumorous scene. The application of the model will be provided in the final sections by means of examples. cases tne translator “kills the joy of the recipient decoding the author's connotations. Fuentes-Luque (2003, p. 304) studies Spanish audience’s response towards subtitling and dubbing of an English film and supports Leppihalme’s (1992) claim that minimal change puzzles the viewer — a text translated too literally leads to distortion of the coherence of the original product. In case of allusive references in captions (which one sees on the screen), the translator has two options: to either provide a translated voice-over version or to offer subtitles, also relying on the above listed strategies (e.g., Chiaro, 2006; 2008). While not all intertextuality is humorous, humour is indeed one of its key functions (Leppihalme, 1997, pp. 5—6). Thus, it is the primary task of translators to evaluate every allusive reference as the first step to finding an adequate way of conveying it into the TL. 1 a4 . Aouad 1 7 9 a aaa, Tae 4a6-E1
lo ensure an efficient translation of a humorous scene, one should aim to preserve the top levels and be ready to sacrifice the lower levels. LA is always sacrificed in translation — since qumour is to be conveyed by means of a different tongue, this KR is bound to change. Ideally, he other five KRs should be preserved to allow for a conclusion of adequate translation of a qumorous scene. The application of the model will be provided in the final sections by means of examples. cases tne translator “kills the joy of the recipient decoding the author's connotations. Fuentes-Luque (2003, p. 304) studies Spanish audience’s response towards subtitling and dubbing of an English film and supports Leppihalme’s (1992) claim that minimal change puzzles the viewer — a text translated too literally leads to distortion of the coherence of the original product. In case of allusive references in captions (which one sees on the screen), the translator has two options: to either provide a translated voice-over version or to offer subtitles, also relying on the above listed strategies (e.g., Chiaro, 2006; 2008). While not all intertextuality is humorous, humour is indeed one of its key functions (Leppihalme, 1997, pp. 5—6). Thus, it is the primary task of translators to evaluate every allusive reference as the first step to finding an adequate way of conveying it into the TL. 1 a4 . Aouad 1 7 9 a aaa, Tae 4a6-E1
According to Matheson (2001), “quotationalism” (references to cultural products inside a new product) along with “hyper-irony” are among the most important features of The Simpsons. Such references appear right in the title of some episodes, e.g., “Much Apu about Nothing” (Season 7, Episode 23; modified title originating from “Much Ado about Nothing” by W. Shakespeare), “A Streetcar Named March” (Season 4, episode 2; modified title originating from “A Streetcar Named Desire” by T. Williams), “Lady Bouvier's Lover” (Season 5, Episode 21; modified title originating from “Lady Chatterley’s Lover” by D.H. Lawrence) (cf. Freiherr von der Goltz 2011: 52). For the sake of clarity, it should be emphasized that allusions may 1) take multiple forms, e.g., titular onomastic, or quotation-based; 2) be modified (have a changed form), which is their most typical representation in The Simpsons; and 3) vary in length (cf. Hebel, 1991, pp. 138-141). In cases like this, the audience experiences an overlap of scripts (after Attardo et al.’s GTVH). See Fig. 2:
According to Matheson (2001), “quotationalism” (references to cultural products inside a new product) along with “hyper-irony” are among the most important features of The Simpsons. Such references appear right in the title of some episodes, e.g., “Much Apu about Nothing” (Season 7, Episode 23; modified title originating from “Much Ado about Nothing” by W. Shakespeare), “A Streetcar Named March” (Season 4, episode 2; modified title originating from “A Streetcar Named Desire” by T. Williams), “Lady Bouvier's Lover” (Season 5, Episode 21; modified title originating from “Lady Chatterley’s Lover” by D.H. Lawrence) (cf. Freiherr von der Goltz 2011: 52). For the sake of clarity, it should be emphasized that allusions may 1) take multiple forms, e.g., titular onomastic, or quotation-based; 2) be modified (have a changed form), which is their most typical representation in The Simpsons; and 3) vary in length (cf. Hebel, 1991, pp. 138-141). In cases like this, the audience experiences an overlap of scripts (after Attardo et al.’s GTVH). See Fig. 2:
MIU ALUU, LUU 1). The complexity of allusions and need for an educated and sharp-witted viewer to decode 1em may be further demonstrated by an example from Episode 22, revolving around successful larriages and their secrets. Mr. Smithers® attends an educational course, where he reflects on is miserable marriage to a woman. Meanwhile, the audience sees the following scene (a ashback): Smithers’ wife, in a sexually appealing gown, asks him to make love to her, but he fuses; she accuses “that awful Mr. Burns” ([5; 22; 07:32]’ in the Appendix). The next shot is fr. Burns calling, “Smithers! Smithers!” It is reminiscent of The Streetcar Named Desire by ennessee Williams, where Stanley Kovalski (Marlon Brando’s character in the same-name 951-movie) calls Stella (played by Kim Hunter) from beneath the balcony. The scene does not nly allude to the play/film per se, but also to the homosexual identity of the author, Tenessess Villiams, and his frequent depiction of homosexuality. This very scene is amusing even for 10se who do not recognize intertextuality — or intemediality in this case — because Mr. Burns ; wearing a Greek-god gown and Smithers’ identity is made obvious. However, for those who o capture the allusive reference, the new text (see Fig. 1) incorporates both a superficial musement (created by purely visual information) and intellectual satisfaction (driven by the pplicability of one’s encyclopaedic knowledge). Leppihalme (1997, p. 32) refers to the case s the reader’s [here: viewer’s] participation in creation of a text and “self-congratulation”’. Audiovisual allusions are easier to recognize owing to multiple associative elements Another similar scene, (2) depicts Mr. Burns as Howard Hughes (an aviator and businessman). He has a fully grown beard and a white attire on. His assistant is wearing a mask
MIU ALUU, LUU 1). The complexity of allusions and need for an educated and sharp-witted viewer to decode 1em may be further demonstrated by an example from Episode 22, revolving around successful larriages and their secrets. Mr. Smithers® attends an educational course, where he reflects on is miserable marriage to a woman. Meanwhile, the audience sees the following scene (a ashback): Smithers’ wife, in a sexually appealing gown, asks him to make love to her, but he fuses; she accuses “that awful Mr. Burns” ([5; 22; 07:32]’ in the Appendix). The next shot is fr. Burns calling, “Smithers! Smithers!” It is reminiscent of The Streetcar Named Desire by ennessee Williams, where Stanley Kovalski (Marlon Brando’s character in the same-name 951-movie) calls Stella (played by Kim Hunter) from beneath the balcony. The scene does not nly allude to the play/film per se, but also to the homosexual identity of the author, Tenessess Villiams, and his frequent depiction of homosexuality. This very scene is amusing even for 10se who do not recognize intertextuality — or intemediality in this case — because Mr. Burns ; wearing a Greek-god gown and Smithers’ identity is made obvious. However, for those who o capture the allusive reference, the new text (see Fig. 1) incorporates both a superficial musement (created by purely visual information) and intellectual satisfaction (driven by the pplicability of one’s encyclopaedic knowledge). Leppihalme (1997, p. 32) refers to the case s the reader’s [here: viewer’s] participation in creation of a text and “self-congratulation”’. Audiovisual allusions are easier to recognize owing to multiple associative elements Another similar scene, (2) depicts Mr. Burns as Howard Hughes (an aviator and businessman). He has a fully grown beard and a white attire on. His assistant is wearing a mask
Although such cases are hard to identify unless the viewer has respective background knowledge, the regular audience is likely to suspect a hidden meaning. This sitcom never features random personalities, so this scene prompts one to look up names to decode the allusion and enjoy a potentially humorous message. In The Simpsons, allusions can be divided into three groups: visual, verbal, and audial. At
Although such cases are hard to identify unless the viewer has respective background knowledge, the regular audience is likely to suspect a hidden meaning. This sitcom never features random personalities, so this scene prompts one to look up names to decode the allusion and enjoy a potentially humorous message. In The Simpsons, allusions can be divided into three groups: visual, verbal, and audial. At
Figure 2. Intersecting channels that create allusions on screen Allusions originate from various sources (e.g., Dore, 2010, p. 10). The dominant sources of allusions from our corpus are the following: films and TV series; books; the Bible; political and historical figures; proverbs / idioms/ famous statements; art, painting; musicians, composers; philosophers; pop culture. In 31 cases, allusive references intersect with wordplay and are excluded from this discussion.
Figure 2. Intersecting channels that create allusions on screen Allusions originate from various sources (e.g., Dore, 2010, p. 10). The dominant sources of allusions from our corpus are the following: films and TV series; books; the Bible; political and historical figures; proverbs / idioms/ famous statements; art, painting; musicians, composers; philosophers; pop culture. In 31 cases, allusive references intersect with wordplay and are excluded from this discussion.
Although Leppihalme (1992; 1996; 1997) deals with allusion in verbal texts, her approach can be borrowed to explain it in this scene as well. The painting in Homer’s head is reminiscent of Boticelli’s, but angels are replaced by his male co-workers and Venus by his female colleague. It is a case of a modified allusion grounded in the visual channel (also e.g., [5; 5; 00:36], [5; 5; 14:28] in the Appendix). Boticelli’s canvas is not more famous in the U.S. than it is in Germany, Ukraine, or Russia, thus not posing difficulty for the target cultures. It gives all the audiences equal chances to either decode the humorous entendre (by establishing the resemblance with the original painting) or lose the implication (due to lack of art knowledge). The name has no humorous effect unless the audience recognizes the allusion to a once popular U.S. commercial and later film series Hey Vern, It’s Ernest! starring Ernest P. Worrell (played by Jim Varney) and shot with a low budget. Since the product was never popular outside the U.S., there is little chance that the TL audience will grasp the connotation. This allusion is also embedded in the verbal-visual channel, which is not always translated in the animated cartoon (e.g., Zabalbeascoa, 2008). In this concrete scene, the German and Russian translators omit it altogether, and the Ukrainian one offers “Epuecm iz0umb Oeweeo’”®, which is a verbatim translation that loses its pragmatic meaning.
Although Leppihalme (1992; 1996; 1997) deals with allusion in verbal texts, her approach can be borrowed to explain it in this scene as well. The painting in Homer’s head is reminiscent of Boticelli’s, but angels are replaced by his male co-workers and Venus by his female colleague. It is a case of a modified allusion grounded in the visual channel (also e.g., [5; 5; 00:36], [5; 5; 14:28] in the Appendix). Boticelli’s canvas is not more famous in the U.S. than it is in Germany, Ukraine, or Russia, thus not posing difficulty for the target cultures. It gives all the audiences equal chances to either decode the humorous entendre (by establishing the resemblance with the original painting) or lose the implication (due to lack of art knowledge). The name has no humorous effect unless the audience recognizes the allusion to a once popular U.S. commercial and later film series Hey Vern, It’s Ernest! starring Ernest P. Worrell (played by Jim Varney) and shot with a low budget. Since the product was never popular outside the U.S., there is little chance that the TL audience will grasp the connotation. This allusion is also embedded in the verbal-visual channel, which is not always translated in the animated cartoon (e.g., Zabalbeascoa, 2008). In this concrete scene, the German and Russian translators omit it altogether, and the Ukrainian one offers “Epuecm iz0umb Oeweeo’”®, which is a verbatim translation that loses its pragmatic meaning.
Appendix
Appendix
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