Comic Means Translation in Feature Films

Abstract

The chapter considers the division of comic means in film discourse into transformations and intensifiers of the comic. The use of transformation of the comic creates the deviation from linguistic, sociolinguistic and pragmatic norm or simultaneous actualization of norm and antinorm (antiphrasis as a kind of irony), or two norms (puns or double entendre) that reveal contrast, results in conflict between implicit and explicit plan of the joke, story or other form of comic discourse, turning the serious norm into profanation or carnival and unexpected funny closing. Linguistic intensifiers of the comic imply the secondary means of creating comic effect that often, however, not always act as emotional triggers and enhance the comic perception of the joke. The study also considers three levels where the comic is verbalized: lexical, stylistic and discursive in the comedies Big Momma’s House and Dr. Dolittle as well as the problem of translatability of comic means in general and in the mentioned films in particular. It emphasizes the principles to which Ukrainian translators resort to achieve the adequacy of translation.