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Apr 24, Jay rated it really liked it. Author Nickolas Butler was fought over by high-brow publishing houses and walked away with an amazing contract. Movie rights are sold as well. Because his debut novel hits home—hits you where you live. The premise is simple and timeless and very Big Chill-like, ask your mom what is refreshing is that it takes place here. Somewhere very close to here and I really liked that. The small town appeal was refreshing. I sat up straight when I read this novel and took pride in the knowledge that this is where I am.

The writing is often times more like poetry. It flows like our hills and valleys. It will pull you in and make you see things in a different light, an amber one. Author Butler is an observer of life and love and heartbreak and joy and sorrow and holding hands and holding on.

One is famous, one damaged from too many rodeo falls, one is a farmer and one is just plain rich. Buddies since childhood with all the history of growing up. Yet a storm is about to blast their friendship wide open and change them all. A secret that should have stayed just that, lands in Little Wing like the bomb it was.

This turning point is where the idyllic Little Wing becomes something else altogether. And nothing makes sense anymore. Though the ending seemed rushed, as though a deadline was tapping a foot in some New York publishing house, it got you there. You were returned to the beginning again. Life is like that, a big circle, a long ride home… Sep 12, Julie Christine rated it liked it Shelves: Back in the day, I was a huge fan of the TV show thirtysomething.

Back when I was still in my teens and thirty-something seemed impossibly distant and terribly romantic. I loved all the navel-gazing angst, the soap-operatic lives, Hope Steadman's hair. I wanted to be Hope: Amazingly, now that I'm fortysomething , I got most of what I wished for, except the babies. And I definitely don't have that hair. I derived th Back in the day, I was a huge fan of the TV show thirtysomething. I derived the same sink-into-a-comfy-chair-and-be-entertained pleasure from Nickolas Butler's Shotgun Lovesongs as I did from that iconic, pre-grunge television series.

I have to chuckle when I read the professional reviews of Shotgun Lovesongs ; it's as if—at least in the critics' eyes—Butler has broken new literary ground by telling a straight-forward story about the emotional journeys of everyday characters, set against the backdrop of domestic life, weaving in the antics of BFFs, and entanglements of the heart. Women authors have been doing this for years, in case they hadn't noticed. There's even a whole category devoted to these stories: Although Women's Fiction is largely ignored by professional reviewers and award-givers, readers have known for years that a sentimental story, with empathetic characters and relatable themes, can be deeply satisfying.

Nickolas Butler has a terrific sense of place and his affection for his homeland of Wisconsin is so evident, it had this devoted Pacific Northwesterner recall her years in the Midwest with homesick longing. The characters are warm and cuddly, all wrapped in flannel and Carhartts.

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This is meat-and-potatoes comfort food reading. The plot's a bit of Lycra stretched too tightly and occasionally Butler falls in love with his own voice, veering to purple, poetic phrasing, but it has the same small-town America charm as a Bob Seger song. You'll be singing "Mainstreet" if only because you can't actually discern the words to any Bon Iver song. Dec 11, Larry H rated it it was amazing. Some books do a great job evoking a sense of place and a general mood, which draw you even further into them.

Nickolas Butler's Shotgun Lovesongs is one such book. It's beautifully written—poetic, even—and tremendously compelling, and I read it between two short flights. Little Wing, Wisconsin is a small rural town. Henry, Lee, Ronny, and Kip were best friends who grew up together. While Henry stayed in Little Wing to take over his father's dairy farm, Ronny found some success on the rodeo circui Some books do a great job evoking a sense of place and a general mood, which draw you even further into them.

While Henry stayed in Little Wing to take over his father's dairy farm, Ronny found some success on the rodeo circuit before his drinking led to a brain injury following an arrest, Kip moved to Chicago to become a broker for the Mercantile Exchange, and Lee was the successful one, becoming a popular singer. Ten years later, the friends are reunited for Kip's wedding, as he has returned to Little Wing to breathe life into the town's defunct mill. Lee agrees to sing a song at the wedding, and he finds himself caught between the magic of a new relationship with a successful actress and the desire to return home, where life is simpler.

But the wedding also causes the start of some stresses among the friends, as they deal with the problems of their own lives and the envy, frustration, jealousy, and insecurity of small-town life when you've known each other forever. The book shifts in perspective between the four friends as well as Henry's wife, Beth, who also grew up in Little Wing, and had a special connection with many of the friends.

It moves back and forth through time, touching on the victories and defeats, hurts and happy times. While some characters are more engaging than others, Butler has imbued them with such life and complexity that they feel almost larger than life, and you find yourself wishing you had friends like these. While nothing out of the ordinary happens in the plot, it doesn't matter, because you become truly invested in their lives. Shotgun Lovesongs is a paean to life in small-town America, its virtues and its disadvantages.

It's a book about trying to live your dreams and worrying about what to do if the dreams don't turn out the way you hoped. It's a book about how far the power of love can take you and how far the power of friendship can carry you. And Butler's use of language is so evocative and mesmerizing, but yet still simple and appropriate for the story. How had our paths diverged, why were they still even connected? Why was he then in my backyard, on my farm, the sound of almost two hundred cows, faintly in the background, mooing and lowing?

How had he come back, this famous man, this person whose name everyone knew, whose voice was recognizable to millions in a way that made it impossible for him to be a stranger in so many places? I think it would be a great movie as well, because I would love to see these characters and their stories play out in front of me again. I'd encourage you to take a trip to Little Wing, Wisconsin and spend some time with these people. Their lives might not wow you, but their stories will hook you.

View all 19 comments. Feb 28, Mish rated it it was ok Shelves: The book is set in a country town of Wisconsin called Little Wing. Trying to keep the close bond intact, as well as getting through obstacle that life throws at you, has proven to be challenging. Prior to reading this book, I had found out that the lead singer of Bon Iver, Justin Vernon, was the inspiration for one of the main The book is set in a country town of Wisconsin called Little Wing. Prior to reading this book, I had found out that the lead singer of Bon Iver, Justin Vernon, was the inspiration for one of the main characters.

Unfortunately, this plot was weak and tiresome. It read like a rural chick lit but with male protagonist, dealing with issues concerning their career, love, money, family and lack of freedom. The characters were too good, nice that it was to the point of being unbelievable and ludicrous. Martin's Press and Netgalley for my review copy View all 11 comments.

Secrets in small towns spread like tumbleweed in Albuquerque, New Mexico. That is to say a secret lasts about as long as a change in wind direction, or a flying ball sailing across a major highway in the middle of rush hour traffic. The third person multiple perspective nature of this tale peppered with the occasional flashback left me wit Secrets in small towns spread like tumbleweed in Albuquerque, New Mexico. The third person multiple perspective nature of this tale peppered with the occasional flashback left me with a head scratch or two for my trouble, but I was in charge of my fate as I continued onward.

Perseverance pushed me toward the finish line, not the writing or the story itself. Each perspective proved mostly unique, but I did feel as though it was all a bit convoluted. Lee and Kip and Chloe represented a trio of selfish bastards and bastardettes. With more than a secret or two between them, I wanted to offer up a tongue lashing, but it might have fallen on a group more focused on a Droid phone clutched between delicate fingers, or lost in a previous reverie. With my thoughts scattered and my hopes shattered, I had really hoped a few more lives might turn out better, instead of shotgun weddings and battered relationships and subsequent divorces.

The story sounded better in the synopsis, or maybe I had higher hopes, or the bleakness of the tale shattered my optimistic dreams. Whatever the reason, I found myself more put off than satisfied, and that included the mostly unrealistic ending. I received this book for free through NetGalley. Cross-posted at Robert's Reads Sep 21, Amy rated it it was amazing Shelves: I thought this novel was just lovely. Once in a while, a book hits you at just the right moment and in just the right way.

This novel was like a sunday morning cup of coffee for me. I just thoroughly enjoyed it. The story is told from five points of view, four men who have grown up together, and a woman who grew up with them. The story is about their relationships, and features a few successive weddings and the challenges these marriages and friendships face, as their intertwined lives move forw I thought this novel was just lovely.

The story is about their relationships, and features a few successive weddings and the challenges these marriages and friendships face, as their intertwined lives move forward. In the midst of this is a rural town, where each of the characters have had a sense of "home" - and each other. Honestly, I got enraptured up in it and loved every single word. Reminded me of Buddha in the attic, where the point of view is written as a collective "we.

It doesn't begin to shift to an I until near the end of the chapter, and we learn the narrating character's name only in the last line or two. I came to understand that this was a foreshadowing, as all of of the characters had to figure out how to go from we, to I, to an "evolved we" once again. It was just a beautiful book in many ways, and as I've said, simply hit the spot. Right time, right book. I thoroughly appreciated and loved it! I never would have picked up this book if it weren't for the recommendation of this group of readers and friends.

I noticed it first from the reviews, and second, as a book that hit the PBT top ten two years in a row. Again, I marvel at how my reading has been so changed and directed. And how many four and five star reads I have read. And what I am excited about moving forward. I am grateful for both your friendship and for the phenomenal stories that have come into my life. Thank you, to both the author, and to you guys, for this beautiful gift which was Shotgun LoveSongs.

View all 7 comments. Nov 25, Shelleyrae at Book'd Out rated it really liked it Shelves: Set in rural Wisconsin, Shotgun Lovesongs tells the story of four men, and one woman, renegotiating the meaning of friendship, love and home. Five characters share the narrative in alternating chapters. Hank - who inherited his father's farm, Beth - Hank's wife, Lee - an international music artist, Kip - a successful broker and Ronny -an injured rodeo star.

These people speak and we think that we know them, who they are and what they dream of, but each are capable of surprising us as the story un Set in rural Wisconsin, Shotgun Lovesongs tells the story of four men, and one woman, renegotiating the meaning of friendship, love and home. These people speak and we think that we know them, who they are and what they dream of, but each are capable of surprising us as the story unfolds.

I have read few books that feature male friendship, and it was something that I really enjoyed about Shotgun Lovesongs. The bonds this group formed in childhood remain intact through a decade of physical separation and sporadic contact, but when they reunite in Little Wing they learn none of them are the boys they once were and their relationships with each other are now complicated by the men they have become. The community of Little Wing in rural Wisconsin is vividly portrayed. I could easily imagine Kip's mill looming over the town, the car park full of battered pick-ups, weathered men leaning on the bar in the VWF hall and tractors traversing the the open farmland.

While tempers may flare, the conflict in Shotgun Lovesongs is largely personal and the drama is subdued. The pace of the story is measured and thoughtful, emphasising emotion over action. I found the writing and dialogue to be simple and honest yet descriptive and affecting. Shotgun Lovesongs is an understated yet heartfelt novel, an ode to friendship, to love and to family. It is a story about finding your way home, where ever that may be. Wash by Bon Iver on YouTube Then it occurred to me that I'm going to die someday and that I should move on to a good book. I'm giving my review based on what I've noticed of the first half of the audiobook.

So, this is the story of a bunch of guys in their 30s who grew up together in r "It's a [book] like hundreds of others, nothing special, really. So, this is the story of a bunch of guys in their 30s who grew up together in rural Wisconsin. One of them grows up to be a struggling farmer, one a struggling businessman, one a failed rodeo star, and one Bon Iver, or a fictionalized version of Bon Iver, who I've learned is not a group, just a guy. There are a couple of women in there, but unfortunately the author can't write women. Struggling Farmer is married to a woman who may have been in love with Bon Iver and may still be.

It doesn't really matter. It's the story of a bromance. It's sort of chick-lit-y but with guys in the main roles. Wasn't there a Rita Wilson movie that had flashbacks with her and her friends when they were teenagers? However, I've read many wonderful novels about male friendships Fortress of Solitude comes to mind , so I think the primary problem is that the characters just have no resonance.

We get a lot of information about their backgrounds, but I still never felt they seemed real, or cared what might happen to them. The narrative is told in chapters from the perspective of each of the five main characters. In the audiobook, each character's chapters are read by a different voice actor. Most of them were okay, neither adding nor detracting to the story, with the exception of the rodeo guy. He's described as having suffered a brain injury, a gentle soul, and hot, with a chiseled body. Unfortunately, they chose to cast a guy with a voice like Artie Lang to read this part.

The different first-person narrative doesn't really work in this book--mainly because all the characters sound the same, have the same inner voice, the woman character is absurd, and some of the language just doesn't sound authentic coming from these characters as they're described. The attempts at poetic, flowery language is kind of embarrassing.

There are a couple of tense moments, but not as tense as they could be. This book wasn't terrible. But like I said, I'm going to die some day. I just need giant glasses in my life. Ya so Christmas spirit found me and attacked, guess I dress in Christmas colours now lol christmas redlips santahat green giantglasses lovetheseason - 14 days ago. Bearded version of Willy Wonka and neon reflexion. I'm thankful for all of my friends and family that make life memorable. Chilling at Disney World with my cousins circa something. New glasses, who dis? Science is a beautiful thing and this white coat is my cozy home.

My sister turns 25 today. So naturally, as the code of older brothers demands, I have to find the most embarrassing photos to share on Instagram. Happy Birthday ya nerd! The older I get, the more I look forward to my evening solitude. Not much has changed. Day 17, Shanghai Turns out shanghai is quite a specs-tacle The other day we went to explore RedWing and catch some fall colors.

Lily cant say princess and I freaking love it! Lol prismiss is how she says it! Excited to wear non prescription sunglasses finally!! After comparing the source and target texts with reference to translated and added wordplays and allusive wordplays, this chapter will investigate the translation strategies applied to verbal humour which is combined with the non-verbal text.

This will be followed by some instances of humorous parody, humour based on the violation of Grice's communication maxims, and humour based on the registers used by specific characters. The last part will be reserved for a specific feature of the data which seems to maximise the situational humour of The Simpsons humorous lyrics. The Simpsons, First Season Each example will be presented in the original English version, the Italian dubbed translation and a literal back-translation produced by the researcher. This will hopefully help develop an understanding of the level of text manipulation and the variety of translation strategies applied to overcome obvious linguistic and contextual constraints.

The analysis is carried out bearing in mind Delabastita's classification of puns and Harvey's framework for compensation, as discussed in the previous chapter. Three examples of horizontal wordplays based on homonymy are given below. The contextual pattern of all three examples is identical: Bart phones Moe's tavern and: Yeah, Moe's Tavern, Boe: Boe's Tavern, it is Boe Moe speaking. Jock, last name Strap.

The surname is Mutan Moe: Guys, they Uh, Jock Hey Cercano una certa are looking for a certain guys I'm looking for a Mutandina. Oh, wait a Jock Strap. It's you, isn't Jock Strap Razza di piccolo it? Kind of little coward isn't it? You cowardly verme codardo! If I put my little runt? When I get a metto le mani addosso, hands on you, I gut you hold of you, I'm gonna ti sbudello come un like a fish and I drink gut you like a fish and pesce e mi bevo il tuo your blood. I'll pay you drink your blood. The Simpsons, First Season 2 Bart: Is Mister Freely Bart: Is Mister I do there?

Freely, first initials I. Le iniziali sono P. The initials are P. Hold on, I'll check. A moment, I check.

I do I pee here? Wait a Wait a minute Listen to me to me you lousy bum. If I put my When I get a hold of Se ti metto le mani hands on you, you are you, you're dead. I addosso, sei morto. Hello, is Al there? Fa Colizzato di Bart: It is Coholic his Coholic. A call for Phone call for Al. Al chiamata per Al. Is there an Al Colizzato. Wait a customers laugh] Wait a Aspetta un momento. Listen, you Senti piccolo topo di sewer rat, bunk, donkey, little yellow-bellied rat fogna, coniglio, somaro, if I manage to find out jackass, if I ever find out se riesco a scoprire chi who you are, I'll kill you!

All three translated examples present a direct correspondence and a parallel compensation Harvey However, in examples 1 and 2 , the translator cannot retain the semantic effect so she instead opts for a substitution, which allows adequate wordplays in Italian. Example 3 is a literal translation which, by virtue of a sheer coincidence or previous language influences cf.

Interestingly enough, Moe, or Boe in the Italian version, always replies in violation of Grice's maxim of quantity and quality overload of information and false statement? The first of these occurs as the whole Simpson family is playing Scrabble: As in "This game is Bart: Vuole dire che "questo Bart: Which means that "This stup-ID".

This decision may be a consequence of the fact that, in this way, Bart's remark is emphasised and becomes clearer to the Italian audience than if the original had been retained. In the second example, during a maths class, a teacher named Ms Melon writes on the board and explains aloud: Don't you get it, Ms Melon: Non hai capito Ms Melon: Derivative D Y Bart? I derivati D Y understood Bart?

D R equivalgono a 3R al derivatives D Y equal over three To laugh In this case, the humorous effect seems to be maximised in the TT because the homophonic wordplay exploits a verb rather than an acoustic resemblance. Vertical wordplay can be found in the following example: Dear Lord, thank Homer: O Signore, ti Homer: I anche se so che non ce know we don't deserve mean I nostri figli it.

Our kids behave like uncontrollable hellions! You have Pardon my French The Simpsons, First Season they act like savages! Certo the picnic, haven't you? Did You see them at the che li hai visti. Tu sei Oh, of course You did. Oh, of course ovunque, sei onnivoro. You're everywhere, You did However, it also seems to add a stronger connotation to Homer's remark. Analysis of the data revealed another important feature of the TT; it is possible to find a large number of wordplays that have been added in translation, from non-pun to pun Delabastita In the red trunks, Bart: Con i pantaloncini rossi, Bart: In the red trunks, with a with a record of 48 wins E un record di 48 record of 48 wins and and no losses, the Vittorie e nessuna no losses, the undisputed champ of Sconfitta And in the campione di questa Bart Simpson!

And in lavender trunks, with a casa Rambo Bart the shocking [stupid] record of zero wins and Simpson! E con i pink shorts Homer correggo, umilianti of them by k. I don't want your pity. I don't want pity. Voglio tirarti un po' su! I want to lift you up you up. The Simpsons, First Season What are you doing! Sorry Dad, the answer Bart: The answer is to that is top secret. Moreover, the translator tries to retain the alliteration of Bart's nickname by inserting a reference to the popular film Rambo, since its literal translation could not be as humorous as in the ST.

Similarly, Bart's offensive remark regarding Homer's inability to play video games is slightly transformed, but retains the original reference to boxing.

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In example 8 , the wordplay is based on the polysemy of Bart's utterance in Italian. In 9 , Homer is exercising in order to lose weight and Bart takes a picture of him with his brand new micro-camera. The introduction of such mildly words is a common trend throughout the whole series but does not seem to have any particular justification. It goes without saying that this technique is allowed to work so well as a result of the medium in use, namely dubbing.

The Simpsons, First Season 4. How come we can't Bart: Why don't we get a decent mower like Compriamo un buy a decent mower like the Flanders have? Tagliaerba decente the neighbours' one? Come quello dei vicini? Be happy with what Homer: Accontentati di quello Homer: Be happy with what you've got, son.

Don't Che hai, figliolo. A che you've got, son. What try to keep up with the cacchio ti serve the heck do you need Flanderses scimmiottare i Flanders? Isn't he he your assistant? Didn't he used to be Marge: Ma una volta non era Marge: But wasn't he your your assistant? Hey, what is Homer: The Italian translator could not preserve this allusive wordplay; instead, she chooses to emphasise the verb in the original idiomatic expression by using an informal counterpart contiguous compensation and direct correspondence respectively, Harvey Example 11 , which shows a close up of Marge and Homer together in the bathroom, illustrates an allusive wordplay based on general encyclopaedic knowledge rather than culture-specific knowledge.

For this reason, it does not give rise to translation problems. The Simpsons, First Season As in the case of the general wordplays mentioned above, it is possible to notice the translator's tendency to introduce allusive wordplays into the TT; this could be described as an attempt at generalised compensation. They may also be justified by previous losses throughout the text Harvey ibid.

Mister Burns, in Homer: Mister Burns, in spite of what nonostante quello che spite of what the others everybody thinks, I'm no pensano gli altri, non think, I'm lover-boy. Get a load of Milhouse: Non posso Stupid [Father] falling for it. I bambini se la bevano. My friends call me Murphy: I miei amici mi Murphy: My friends call me "Bleeding Gums". This could be Commentatore: He washed his feet? The camera shot frames them in medium close-up and from behind. A completely new humorous effect is also created when the idiomatic expression at the end is translated into the Italian equivalent underlined.

While the original text of 15 seeks to create a humorous effect based on the fact that, although going to church, Homer does not seem to recognise the religious allusion, the translator adds a paronymous wordplay to the TT which maximises its perlocution. It goes without saying that this could hardly have been possible with subtitles because the audience would have easily detected the manipulation of the ST.

In order to investigate instances of parodic intent in the data, it would be useful to refer back to Nash's In the case of The Simpsons, recognising the objective of parody greatly maximises its intended satirical humour. In this light, we can now analyse the way in which the Italian translator deals with satirical parody: Bart, you know Homer: Bart, sai quel tipo Homer: Bart, you know that that guy on your raffigurato sul tuo guy on your basket?

Oh, you mean Krusty Bart: Intendi Krusty il Clown? You mean Krusty the the Clown? He's sort of a hero of Homer: He's a kind of hero yours, isn't he? I've based my life on Krusty's teaching. The Simpsons, First Season 17 Krusty: Hey, what's going Krusty: Hey, what's going on, here? Krusty the Clown, Winchester: Krusty in Clown, Winchester: Krusty the you're under arrest for sei in arresto per rapina Clown, you're under armed robbery. You a mano armata.

I was Terra chiama Marge. The clown is G-I- Ero presente. Krusty the Clown, Giudice: Krusty il Clown, Judge: Krusty the Clown, how do you plead? I plead guilty, your Krusty: I plead guilty, Your honour. Oh, eh eh eh, not Krusty: Oh, ih, ih, volevo dire Krusty: Oh, eh eh, I meant guilty, eh eh eh. Opening-night jitters, la fifa della prima, It's the opening-night your Honour. Welcome to talk radio, K-Babble. All "Banda delle ciance"! If solo chiacchiere 24 su prattles"! All chatting, 24 you'd like to share your Se volete confidare hour a day. If you want embarrassing problem qualche vostro to confide your scabrous with our listening problema scabroso a problem to all our audience, we invite you tutti i nostri ascoltatori vi listening audience, we to call our therapist of invitiamo a chiamare il invite you to call our the airwaves, Dr.

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Marvin nostro terapista delle therapist of the Monroe. The number is onde, Dr. The number is afraid, call now! The Simpsons, First Season 22 Homer: Where are you, Bart? Il suo berretto you? Oh, lucky red hat. My beautiful mio Dio, No! Why couldn't You bellissimo figlio. Why have taken me? Of all non hai preso me?

Di couldn't you have taken the fates on heaven and tutte le sorti in cielo e in me? Non farti infartare, pa'! Don't have a heart scene] Don't have a cow, attack, Dad.

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Is it possible to problem here? We were fighting over Lisa: Stiamo litigando su chi Lisa: You love him more. No, non gliene voglio. Si che gliene vuoi! The Krusty episode is characterised by a high level of parodic density; several institutions of American and Western culture are more or less overtly parodied by relying on the audience's world knowledge and the characters' language styles. In 16 , the dialogue between Homer and Bart illustrates the morbid obsession with television and the intense reliance on the media that is characteristic of modern youth.

The Simpsons, First Season job. In example 18 , Homer uses the register of aerospace communication to make fun of Marge's statement. This may explain the previous addition of the target-culture reference in example 17 contiguous compensation, Harvey The content and the style of these utterances are always in contrast with the context within which they are embedded, thus creating a humorous incongruity.

Similarly, example 22 , which shows Homer bemoaning Bart's supposed loss, seems to recall a speech taken straight from high drama. This, of course, clashes with Homer's usual ignorance, as well as Bart's subsequent utterance.

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The Italian semantic equivalent of Bart's trademark utterance also presents an instance of alliteration which allows the audience to become acquainted with it. The example 23 can be considered a parody of the stereotyped American idea of family often presented in TV comedy shows. In this type of shows, the family environment is idealised and the humour is caused by harmless situational jokes or dialogues. By contrast, this scene subverts the expectancy norms of family comedy shows because the humour displayed in the final exchange between Bart and Lisa hurts Homer's feelings.

It does not present specific translation problems since the literal translation is quite successful in Italian. The Simpsons, First Season lip synchronisation, which were solved by the fast performance of the lines by the dubbing actors in combination with the camera angle long shot.

As before, this religious quotation clashes with Homer's character and the whole context and, once again, seems to further confirm the hypothesis regarding the important role played by manipulation of the ST in maximising the perlocution of the text within the target culture. In this scene, Homer is walking to one of the town bridges with a rock tied to his waist in order to commit suicide after being fired.

The camera angle long shot shoots Homer from behind, which means that no lip sync is needed: Che fatica la vita! Life, what a fatigue! First, if cultural references are shared by both the source and target cultures, translators may try to adjust the target-verbal text to the original visual one by retaining the perlocutionary effect and, if possible, taking care to ensure good lip synchronisation.

Second, if the target culture is not familiar with the original visual sign, the translator may seek to render it more explicit verbally. Third, if the cultural sign cannot be made explicit verbally e. This investigation found instances of the first and second situations listed above. In this case, his gesture is the visually coded version of his utterance and can be defined as a visual joke Zabalbeascoa He gesticulates to indicate that they are crazy and says: The Simpsons, First Season 25 Homer: A lot of nut cases Homer: Certo che ne entra di Homer: That's for sure that in here.

In this case, the translator seems to be aware of the fact that the Italian audience shares the same cultural gesture implying insanity. Moreover, the pragmatic meaning is retained and the camera angle long shot allows control of the lip synchronisation. OK, now let's Inviato: Well, now we go back get back to your torniamo a suo to your "husband". How "husband" [holding his "marito".

Come ci would you describe us microphone and putting descriverebbe I suo your conjugal relation? How would you describe your marital relations? The reporter's gesture is usually used when quoting somebody and, in this case, it also conveys the idea that reporter does not commit himself to the notion that Homer is a normal human being, preferring to quote his portrayal as a "husband". Here the translation does not explain the visual element but the dubbing actor's performance manages to convey the irony of the original remark; this process is helped by the fact that the sequence proceeds too quickly for viewers to notice such details.

A more successful example of the combination of verbal and non-verbal humour is presented below. Bart is on the school bus with his schoolmates and his teacher, Ms Krabappel. This solution may be the consequence of an attempt to retain its cacophonic effect, although it is unclear whether or not the Italian translator has understood the original allusion.

Ms Krabappel is annoyed with Bart's naughty behaviour and she suggests that she could humiliate him by forcing him to sing in front of his schoolmates: Can I pick the Bart: La scelgo io la Bart: Do I pick the song?

The song will be Ms K: La canzone da Ms K: I expunge the idea! In the TT, the verbal text, by adding a more explicit remark to Bart's original moaning, salvages the non-verbal text, but only partly. Moreover, the translator does not translate the title of the song, but introduces a new one which, however, does not seem to recall any specific target-culture reference. A more felicitous solution would have been a literal translation or the reference to another, more famous, Italian song.

Bart has just drawn Principal Skinner's face, and an offensive remark referring to him, on one of the school walls, and Skinner wishes to find out who is responsible for it. In this context, the following humorous exchange occurs: Whoever did this Pr. Whoever committed is in very deep trouble. And a sloppy speller, Martin: And a very bad writer, too.

The preferred pessimo scrittore. The Simpsons, First Season As Martin stands in front of the wall and clearly refers to what is written there, the only possible solution is to retain the original text, although its cultural and linguistic references have to be adjusted to the Italian language and culture.

In fact, since spelling is not a common source of writing mistakes in Italian, the translator opts for the felicitous solution of referring to the misuse of the indefinite masculine article "un". The humour is further retained through the adequate translation of Martin's adult-like register Rahaelson-West's suggestion Di Concilio and Stella Although their translation may not present great technical difficulties, the translator may have to convey the text in such a way that the target-viewers will be able to infer analogous implicatures and the functions of the originals Hickey Some instances of the subversion of the quantity maxim are presented below: Lisa, are you still Homer: Lisa, why are you in there?

Che still in there? Did you fall succede? Won't it come out? Come ha detto, zia? I'm just trashing your father. Well, I wish you Lisa Desidererei che tu non Lisa: Go watch your Patty: Guardati i cartoni Patty: Go watch your cartoon show, dear. You bought that Marge: You bought that ball for you, not for me. The holes were Marge: I buchi sono fatti per Marge: The holes were made drilled for your fingers. I wanted to surprise Homer: Volevo farti una Homer: I wanted to surprise you.

I couldn't very well sorpresa. I couldn't cut your chop your hand off and staccarti la mano e hand off and bring it to bring it to the store, portarla al negozio. It was more could I? In fact, at first Homer seems to be worried about the fact that Lisa has locked herself in the bathroom for a long time.

Shotgun Lovesongs

This may be a signal that she is not well and Homer coherently asks what is bothering her. In 30 , Patty has just made some nasty remarks about Homer which she openly reveals to Lisa, thus violating the simplest rules of etiquette in interpersonal relations. Lisa then violates the maxim of quantity by giving a long speech made up of partly relevant matter in very formal English.

In turn, Patty replies by avoiding making any adequate answer. As in the other cases, the humour arises from the subversion of social norms and audience expectations here an adult speaks like a naughty child and vice versa. Homer, in example 31 , introduces extra information in order to justify himself but his excuse subverts every kind of logic, as he is well aware. Interestingly, the Italian translation, by adding an extra line, implies that Homer could not chop off Marge's hand only because it would be more complicated, rather than because he thinks it illogical.

This addition is likely to shock the target-audience, but it also maximises the humorous effect of the TT. In this light, this could be considered a good example of Koestler's bisociation theory discussed in the second chapter of this study. In fact, the illogical train of thought in the punchline clashes with the previous logical one.

The maxim of quality requires that speakers say only what is considered to be true, and to provide evidence of this truth. In The Simpsons it is often the case that the characters' utterances do not match what appears on the screen, thus creating an incongruous and humorous effect. Well I sense Marge: Io percepisco della Marge: I sense greatness in greatness in my family.

Well, it's a greatness Marge: Well, it's a greatness that others can't see All right, all right. I, I got Senti, mi dispiace, ho Look, I'm sorry. In the heat of the esagerato. Nello scazzo too far. I said meaningless things. You weren't thinking, Lisa: Non stavi usando il Lisa: You weren't using your were you? I'm not a snivelling toad, Lisa: Then, I'm not a am I? I'm not a little egg- Lisa: Non sono una piccola Lisa: The Simpsons, First Season sucker, am I?

Ma certo che no. Then what am I? And what am I?