Aproximación a la traducción del humor y su aplicación a la enseñanza de segundas lenguasThe Annals of Improbable Research y los premios Ig® Nobel

Zusammenfassung

Abstract In Mexico, higher education takes the globalization phenomenon as reference on two levels, at national level concerning all the social, political, economic and scientific impact, and in accordance with global impact, seeks the internationalization of its students with the aim of transforming the universities and the students¿ work environment. The quest to improve the quality of life of its inhabitants is observed in the concern of institutions to pass on to their students the adequate knowledge, and context requirements to have competent bilingual professionals in a second or third language. The current situation reflects a lack of trained personnel in foreign languages teaching in secondary and higher education, and a lack of innovative approaches, among which are those who exploit the sense of humor as an essential tool in understanding a second language. Current teaching practice faces situations that question the teachers¿ training and force him to use his creativity to overcome the gap between theory and practice, strengthening the bond between the students and teachers. One of the 'bridging' issues among students and academics has always been humor, which worked systematically in classroom activities and field practices, helps to strength bonding, and the never ending implementation of reforms pertaining to the university environment. On the other hand, the enthusiasm for science, for their advances and discoveries, and the student¿s interest in research is limited, academically, by their unfamiliarity with scientific discourse and its 'serious' speech, and practically, by the short amount of time devoted to second language practices during the semester, shared with different subjects and different teachers, each one with its own program and perspective. The translation exercises in the Faculty of Engineering and Business, of the Autonomous University of Baja California, Mexico, is reduced, in most cases, to a few scientific texts, and this, done through software, or using Babel Fish, the very useful but often inadequate tool www Google Translate, or using the English, French or Portuguese competence of a particular student, and the relationship established between a student and another. The setbacks of this practice, some trivial and some not so much , made us aware of the need for a systematic approach to the understanding of humor in languages other than our mother tongue, free of assumptions or speculations, to comply with the need of scientific rigor in accessing the translation of real texts. Researching the most appropriate and useful texts in a college environment with degrees in mechanical engineering, mechatronics, electronics, computing, accounting, business administration and international business, the idea of approaching humor and its transfer to other languages arose naturally as a result of both our interest in science and humor. And in doing so we look up Marc Abrahams¿ The Ig Nobel Prizes and its Spanish translation The heterogeneity of the discourses and the problems associated with the production and comprehension of humor and his transfer have interested to linguistics, semantics, pragmatics and discourse specialists. The ability to understand the 'other', to interpret his comic discourse is a skill that goes beyond the purely linguistic and has more to do with the shared ideological and cultural knowledge between speaker and listener. Different cultures laugh differently and have different objects of ridicule or scorn, so much so the humor is considered one of the greatest challenges for foreign language students (Maher 2011: 1). Humor has been a constant feature in the history of mankind, but usually travels badly, so we set out to study The Ig Nobel Prizes in order to use its humor as a resource in our teaching and to encourage in our students the spirit of inquiry and humor needed so much in today's world. The Annals of Improbable Research, (AIR), founded in Israel in 1955 and is currently published in Cambridge, Massachusetts, is a peculiar publication of scientific humor. Linus Pauling, chemistry Nobel laureate in 1954 and Nobel Peace Prize in 1962 was one of its supporters, and its editorial staff is composed of more than fifty scientists from around the world, united by the belief that science can be appreciated by everybody, and the importance they attach to scientific disclosure for the common good. This paper aim is to explore the intersections between translation and humor, from the Ig Nobel awards generated by the humorous science magazine The Annals of Improbable Research. The chosen approach is descriptive and aims to provide a study as complete as possible, from the general to the particular and from the outside to the inside, from the theoretical approach to the analysis of a specific text, carrying out a comparative analysis of the Spanish version of the book, Los premios Ig® Nobel, with its source text, identifying translation strategies, and in doing so, discerning the complexity of humor and its transfer. We do not claim to strictly delimit the phenomenon, but rather, we see the translation of humor in multiple and plural ways, hoping to help in linking different cultures and points of view. The objective of this research is to make an inquiry into the meaning of the comic, the possible mechanisms for its transfer and its application in the second language classroom. We agree with Horton (1991: 2) when he observes that such perspective can enhance our pleasure and sense of humor, helping create awareness of the contradictions inherent to the phenomenon and the complexities of its teaching and translation. We begin by analyzing the concept of humor and contextualizing The Ig Nobel Prizes in the culture of origin. We followed this by analyzing representative pairs of translation, finding their translation strategies and their determining factors. Subsequently, we evaluated its translation and asserted its usefulness in the second language classroom. Humor has been one of the most studied aspects by psychologists, sociologists and linguists, from Aristophanes to Derrida, Aristotle to Bergson. Its nature is, for some, untranslatable (Diot 1989: 84; Bergson 2002: 15). Our personality is largely defined by its multidimensional character, subject to rules of conduct and different aesthetic and moral judgments. It is a rhetorical strategy, a literary resource and an audiovisual narrative. Palmer (1994: 5) argues that we can only approach the understanding of such a varied and complex phenomenon as is humor by analyzing all of its dimensions. Laughter is a reflection whose trigger is difficult to grasp and define because is not physical but psychic and intellectual. Philosophers have studied the comic as a vast territory that evades trivial generalizations or rigorous systematization (Horton 1991: 2). The humor in the written word, the spoken language, cartoons, film and television, has been the subject of linguistic, feminist, post-Freudian, Marxist or neo Bakhtinian studies. However, none of these approaches has been able to encompass the phenomenon in its entirety. As White noted (1954: 173), "Humor can be dissected, as a frog can, but the thing dies in the process and the innards are discouraging to any but the most scientific mind". Scientific theories on the phenomenon have been succeeding each other over the centuries, and it is necessary an interpretative review of the comic as language game or intentional communicative process before we try to attempt its translation. Relations between culture, society, intellect and history, its literary output and its humorous styles have important implications for the translator (Maher 2011: 4). In general, the traditional humor seeks to reinforce social norms and laughter has punished corrective functions as transgressive behavior (Bergson 2011: 17). Entropic contemporary humor, conversely, is not normative, not even threatening or intolerant. Rather, it reflects a lack of clear rules. O'Neill (1990: 50) argues that its popularity in European and American writers of the twentieth century was a reaction to the loss of confidence in the values and beliefs established in relation to the progress of science and technology, and whose effects were felt in many disciplines. The same author observes (ibid: 20) than traditional genres are no longer in 'pure' form, which in the past, tragedy and comedy were firmly anchored in a solid system of shared values, while today are dissolved in the uncertainties of a globalized world where "future remains veiled in undecidability." Theoretical approaches on the translation of humor Laurian and Nilsen (1989), Vandaele (2002b), and Delabastita (1996) have studied the different types of humor, and his main problem, its im(possibility) to translate: to succeed and to what extent in crossing geographical boundaries, hampered by linguistic and social barriers. Ambiguity makes specific instances of verbal humor go unnoticed for the translator, or may be perceived and found unpleasant. From the translatological point of view, humor has always been a limit to translation (Rabadán 1991), its meaning depends not only on its semantic aspects but very often on form, and (in) translatability has a scale of difficulty that depends on certain situational, cultural or linguistic factors. We understand the world from the preset and specific patterns of our language, and there is not a single language but many types of language, therefore, its analysis goes from the proposition to the notion of language game, corresponding to lifestyles, and as such it varies infinitely as life does. So, it is not possible to formulate a general 'theory' of language games (Figueroa 2009). Each language constitutes a "game" that nullifies the idea of `reference¿ and therefore the tertium comparationis of two languages (Vandaele 2001). Humor, poetry, puns and metaphors are frequently mentioned among the challenges faced by the translator. With regard to puns, their translatability is essentially linked to the prescriptive or rules of its own approach (Delabastita 1993: 172): "[T] he question whether or not translation is possible presupposes that one has in mind a fairly clear notion of what a translation is supposed to be ... ". The same author mentions that these regulatory schemes originate, generally, from a non-textual perspective in which the 'autofonctionnel' aspect (the humor in isolation) is less relevant than the 'synfonctionnel' look (the pun as 'textème' integrated into a network of textual relations) in which we want to determine whether or not it can be translated (ibid: 183-186). Similar assumptions underlies the discourse about humor and its translation, and bear witness to an 'essentialist' vision in the sense that it postulates an equivalence ratio of all the characteristics of a humorous element (a humorous position within the text unit , form, content, 'unique' cultural specificity, etc.), and not humorous or other functions within the whole text (Vandaele 2001: 31). In the opinion of Diot (1986: 266): [Le traducteur] substitue «la langue des nôtres», à «la langue des autres»: au cours de ce processus se perdent malheureusement les subtiles manipulations ludiques de la langue des nôtres: accents, dialectes¿ An explanation of the words and their referents do not covers the full significance of a joke, the author's intentions and the text data are combined with a set of connotations and references, including the political, historical, attitudinal, lifestyle, world visions, science, literature, and all sorts of domains in which the naive listener is immersed permanently and which vary from country to country. Any answer to the question depends on the type of translation you have in mind, not only in terms of type and degree of equivalence, and gender and communication situations, but also the position of the speaker with respect to translation, with all sort of linguistic, pragmatic, historical or semiotic notions about the nature of language, and ideological implications for the way in which humor and puns express worldviews (Delabastita 1996: 127). Studying humor involves taking an interdisciplinary perspective. According to Vandaele (2002a: 150) the translation of humor is qualitatively different from other types of translation, which requires taking a broader approach; the autor notes that the most recent works combine prescriptive approaches (how to translate) and descriptive (how it is translated). In the case of humor the dichotomy is somewhat simplistic due to the complexity of the subject matter (Vandaele 2001: 32). It seems beyond doubt that humor depends on both the language in which it is expressed and the culture in which it is immersed and only through an interdisciplinary perspective will be possible to elucidate the question of translatability. In the words of Laurean (1989: 6): " l¿humour est souvent considéré comme intraduisible, et pourtant on le traduit.¿ Nilsen (1989: 123) coincides with Laurian (1989: 5) in that humor is based on complexity. The presence of linguistic and cultural factors and their combination and proportion influence the relative difficulty or ease of translation that occupy the translator, to avoid misunderstandings when it comes to the mother tongue, and especially in the case of a foreign language, for a text in the target language to express the same meaning as in the original language one must transcend words to give way to ideas, pass from syntax to concepts, from formulations to meaning, and then redo the process in reverse . Almost all articles of the special issue of the journal Meta: Journal of Translators (1989) dedicated to humor and translating focuses on questions about its translatability or untranslatability. Among the authors with a rigid perspective of equivalence and defending a position of untranslatability of humor are Diot and Van Crugten. Landheer and Laroche are more optimistic and their views. Parallel to the cultural turn in translation studies (Lefevere and Bassnett 1990), occurs a critical departure from the comic unit represented by the isolated word or phrase and takes as the minimum unit the 'humorous effect' (Vandaele 2002a: 153). The cultural studies are based on the proposition that humor originates from a common network of cognitive schemata which refers both to the educational process that generates it, as well as from each individual set of experiences. This focus is centered on the theory of collective laughter and the analysis of the manifestations of humor of a culture, based on a series of conscious or unconscious assumptions (Santana Lopez 2005: 839). There are three lines of recurring research in Humor Studies: 1) studies centered on the semantic precision of the term humor, increasingly understood as humorous effect; 2) studies on the incongruity and superiority as basic cognitive pillars, complementary and not mutually exclusive, and 3) on the one hand, the semiotic interaction between humor and audiovisual media (humor, dubbing , subtitling and censorship, comics, etc.), and on the other, the relationship of humor to conventional genres (parody, satire, etc.). For Santana Lopez (2005: 840), it is only possible to undertake a rigorous study on the translation of humor if you consider the fact that humor has become an object of study in its own right, clearly manifested in the emergence of Humor Studies as interdisciplinary. Analysis and results With respect to the translation of the titles of each section in Los Premios Ig® Nobel we observed a remarkable tendency, on the part of the translator, to use linguistic equivalences and paraphrases as translation strategies. The strategy to recreate a literary reference (Scents and Sensibility) to another clearly cinematographic (The Good, the Bad and the Ugly) surprises by the effect of strangeness that marks the change in time and space; the result is less surprising than original word play. In other cases the translator goes from one naive and tender title (Kitty and the keyboard) to another loaded with negative connotations (El gato en el tejado), and still in other case, it goes from colloquial to other formal language (in two parts ¿ ex aequo). In the translation of articles and syntax management, Los Premios Ig® Nobel clearly follows the original structure in English: short sentences and paragraphs, and constant repetition of terms, without with disregard of discursive Spanish rules. The absence of coordinated or subordinate sentences and the limited use of synonyms make reading an uncomfortable chore. Conclusiones A global reflection generated by our study is that all phenomena are worthy and capable of research, nothing is beyond the rational and objective observation, not even the irrational and subjective. Anyway that is carried out, using humor to expand the public's interest in science, and the importance of a second or third language (and even a fourth or fifth), is the best way to increase the number of able scientists needed for the advancement of a social group. In the course of our study we have come to appreciatevthe complexity of humor, we have seen the phenomenon and its ambiguities, and considered the extreme difficulties of translation. Translation of humor in Los Premios Ig® Nobel involves linguistic, cultural and temporary difficulties; the nature of the phenomenon is very complex because its perception is subjective, cognitive and individual. Also, the difficulties are increased when there are cultural references far removed in time and space, from cultures with different views on formality, politeness, etc. as the United States and Spain. In the descriptive analysis of the translation of humor we found that the strategies employed by the translator are varied, ranging from the loan to the autonomous creation. The most commonly used strategy is the transfer of linguistic and cultural references replacement. We observed the balance and control of the translator and the editors as they tried to balance domestication and foreignization, between original and target text, a difficult task for any specialist. Regarding the content of the articles before us, we found that Los Premios Ig® Nobel faithfully reproduces the text in English, word for word, sentence by sentence, paragraph by paragraph without using synonyms or text nesting strategies, which is reflected in numerous repetitions, neglecting the style in the Spanish version, resulting in a very strange reading, which does little to his reception as "a" original, essential and unavoidable in texts with comic pretensions. Minett Lopez Guix and Wilkinson (2003: 257) recommend as a general rule for beginners in translation, to make first a literal transfer and then "if the resulting text is broken," to make corresponding linguistic or extralinguistic adjustments. 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