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The essays in this collection explore taboo and controversial
humour in traditional scripted (sitcoms and other comedy series,
animated series) and non-scripted forms (stand-up comedy, factual
and reality shows, and advertising) both on cable and network
television. Whilst the focus is predominantly on the US and UK, the
contributors also address more general and global issues and
different contexts of reception, in an attempt to look at this kind
of comedy from different perspectives. Over the last few decades,
taboo comedy has become a staple of television programming, thus
raising issues concerning its functions and appropriateness, and
making it an extremely relevant subject for those interested in how
both humour and television work.
The essays in this collection explore taboo and controversial
humour in traditional scripted (sitcoms and other comedy series,
animated series) and non-scripted forms (stand-up comedy, factual
and reality shows, and advertising) both on cable and network
television. Â Whilst the focus is predominantly on the US and
UK, the contributors also address more general and global issues
and different contexts of reception, in an attempt to look at this
kind of comedy from different perspectives. Over the last few
decades, taboo comedy has become a staple of television
programming, thus raising issues concerning its functions and
appropriateness, and making it an extremely relevant subject for
those interested in how both humour and television work.Â
An increased tolerance for humour addressing sensitive issues (e.g.
death, disease and disability) seems to be observed in
Anglo-American culture with respect to Italian culture. This begs
the question of how this traditionally unsettling, and perhaps more
sophisticated, kind of humour travels to a country like Italy, in
which contemporary, mainstream comedy privileges feel-
good/family-oriented entertainment or, alternatively, the erotic
comedy genre, and in which the very mention of death might still
trigger superstitious reactions. The present study takes into
consideration the processes involved in dubbing dark humour from
English into Italian as observed in the English and
Italian-language versions of ten British and American dark comedies
from the 1940s to the 2000s. The analysis was also concerned with
the translation strategies adopted and with possible effects of
alteration of the dark humour content as a result of translation.
Given its linguistic and cultural take on the subject, the study
will be of particular interest to audiovisual translation students
and scholars as well as researchers in cultural and humour studies.
Non-professional Interpreting and Translation (NPIT) is a recent
discipline. Books and volumes on this subject that combine all the
different fields are extremely uncommon and authoritative reference
material is scarce and mostly scattered through disparate
specialized journals. There are many areas and aspects of NPIT in
the media that to date have been under researched or utterly
neglected. The aim of this volume is therefore to fill an important
gap in the academic market and to provide an overview of diverse
aspects of non-professional interpreting and translation in the
media. The volume consists of a collection of essays by eminent
international scholars and researchers from the field of
Translation and Interpreting Studies.
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