<abstract xmlns="http://www.w3.org/1999/xhtml">
<p>Broadcast from the early 1960s until the early 1970s, <italic>Bewitched </italic>was brought into being with the intention of providing the conventional American family with a constructive emotional outlet for when they would all gather around the TV and spend quality time together. The key demographic at that time consisted of young to middle-aged couples or newlyweds with or without children, basically the real-life versions of the characters portrayed in the show. Nowadays, the target audience has considerably diminished in number as the beloved TV series is no longer on TV. It remains available online for cinephiles and movie amateurs alike. The aim of this article is to methodically translate and analyse the potential setbacks of various comic and outdated instances encountered in the TV show <italic>Bewitched</italic>. It also consists of a thorough investigation of possible problematic linguistic aspects, as well as different sources of humour. Moreover, the target audience will be provided with alternatives in translation and additional explanations and reasonings behind the choices made.</p>
</abstract>

Broadcast from the early 1960s until the early 1970s, Bewitched was brought into being with the intention of providing the conventional American family with a constructive emotional outlet for when they would all gather around the TV and spend quality time together. The key demographic at that time consisted of young to middle-aged couples or newlyweds with or without children, basically the real-life versions of the characters portrayed in the show. Nowadays, the target audience has considerably diminished in number as the beloved TV series is no longer on TV. It remains available online for cinephiles and movie amateurs alike. The aim of this article is to methodically translate and analyse the potential setbacks of various comic and outdated instances encountered in the TV show Bewitched. It also consists of a thorough investigation of possible problematic linguistic aspects, as well as different sources of humour. Moreover, the target audience will be provided with alternatives in translation and additional explanations and reasonings behind the choices made.

Translation of Problematic Humour in Gender-Focused <italic>Bewitched</italic>

East-West Cultural Passage

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Translation of Problematic Humour in Gender-Focused 

Broadcast from the early 1960s until the early 1970s, Bewitched was brought into being with the intention of providing the conventional American family with a...

Translation of Problematic Humour in Gender-Focused Bewitched

Publié en ligne: 16 mars 2024

Pages: 152 - 179

DOI: https://doi.org/10.2478/ewcp-2023-0017

Mots clés
illocutionary act, humour, irony, ambiguity, stereotype, gender,

© 2023 Lorena Opriţa, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Translation of Problematic Humour in Gender-Focused Bewitched

Publié en ligne: 16 mars 2024

Pages: 152 - 179

DOI: https://doi.org/10.2478/ewcp-2023-0017

Mots clésillocutionary act, humour, irony, ambiguity, stereotype, gender,

© 2023 Lorena Opriţa, published by Sciendo

This work is licensed under the Creative Commons Attribution-NonCommercial-NoDerivatives 3.0 License.

Mots clés
illocutionary act, humour, irony, ambiguity, stereotype, gender,