I have no friends in America that speak Ger- man. It makes me so lonesome, so lonesome! No, no, no No, just-just-just the one word. A different language might have been opted for; Klaus could have been, if considering what seems to be some sort of norm, Erik from Denmark or maybe Ole from Sweden. However, in an earlier season, when Ted meets Victoria, she tells him that she is going to live in Germany for a while. By that time, the dubbing studio probably had no idea that a German character would eventually appear in the series and rendered accordingly.
In order not to be incongruent, Klaus had to be German in the dubbed version, too. In these two series, L3-German plays a less important role, at least quan- titatively. The joke rests more on a linguistic misunderstanding or a linguis- tic mocking than a general depiction of Germans throughout the episode. L3-German is adapted to regional varieties in order to maintain the linguis- tic difference and the success of it is, by all means, debatable the comic effect. When comedy is purely based on a linguistic joke — a couple of words that might or are supposed to be partly understood and sound funny or ambiguous — the preferred solution seems to be the use of a regiolect BBT, HIMYM.
However, all cases in which a regiolect has been used have narrative or visual restrictions which complicate the use of any other language and culture than German — except BBT 1 11 , where theoretically the script could have been adapted to refer to any other university or country.
Another conspicuous correlation is that wherever regiolects are used, the instances of L3ST-German are rather short. The use of a regiolect in German dubbing throughout an episode or even the entire series might be unnatural for a target audience or become somewhat ridiculous in the case where they are used to hearing High German on screen. French is used for the German dubbing of Lust in Translation, episode ten of the second season of the series Better Off Ted Fresco , in which the research depart- ment of a fictional company invents a translating machine that allows speech into a mouthpiece in one language and subsequently its translation can be heard out of a loudspeaker in another language.
In King of Queens Litt and Weithorn , season five of episode twenty-one, when Doug wants to return a pair of shoes for his wife and the saleswoman starts talking German with her colleague, the German dubbed version shows L3ST-German rendered as L3TT-Turkish. When Herman the German becomes Erik der Wikinger Conclusions Both on a theoretical and a practical level, it is crucial to take into account features that Zabalbeascoa calls L3 variables, as they may be im- portant restrictions imposed by the ST besides the visual and narrative ones mentioned.
For the case of language coincidence, the key variables to look at are visibility how visible is L3ST within the ST? Can it be easily recog- nised? Usually, jokes have some sort of victim or target ibid. Indeed, it can also be the L1 culture, for example, if a character as representative of the source culture is not able to memorise a single word of a foreign language. As this particular study regards, as mentioned before, the preferred solu- tion in the German dubbing of US sitcoms seems to be to adapt L3 in order to maintain the comic effect.
This can be strived for through adapting to a different standard or a regional variety. Accents and peculiarities of speech can be and are often adapted to an accent of the standard variety.
L3- German is adapted with some form of compensation on a grammatical, lexical or phonetical level — or all three. In my regard, it is worthwhile looking at further examples of this particular case of L3 for different texts, as well as other L3 and their corresponding cases of language coincidence in translation.
Target , Dubbing Stereotypes in the Nanny, the Simpsons, and the Sopranos. Austin: University of Texas Press. In Brower, Reuben A. On Translation. Cambridge: Harvard University Press, Linguistica Antverpiensia 6, Basingstoke: Palgrave Macmillan. In Kemble, Ian ed. The Changing Face of Translation. Portsmouth: University of Ports- mouth, Poetics Today , Linguistica Antverpiensia 4, Humor , Kassel: Reichenberger, Perspectives , In Abend-David, Dror ed. Media and Translation: An Interdisciplinary Approach.
New York: Bloomsbury Academic, Angell, David L. Bartel, Paul Death Race Bays, Carter F. Boomer, Linwood Malcolm in the Middle.
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Erik the Viking Rated: 6. Erik the Viking gathers warriors from his village and sets out on a dangerous journey to Valhalla, to ask the gods to end the Age of Ragnorok and allow his people to see sunlight again. A Pythonesque satire of Viking life. The current DVD known as the "Director's Son's Cut" features both the video version and an even shorter 75 minute print. User reviews 53 Review.
Top review. A brilliant comedy! British comedian Terry Jones found fame and fortune as a member of the legendary comedy troupe known as Monty Python, where along his teammates revolutionized comedy with their sketch show "Flying Circus" during the 70s. While this is probably his most well-known activity, Jones is also a popular historian, specialized on the European Medieval period, who has published several books on this and other subjects of ancient history.
In , after the dissolution of Monthy Python, Jones published a children's book named "The Saga of Erik the Viking", where he explored this interest of him in the story of a young Viking. Years later, he wrote the screenplay for a movie version inspired in the children's book, although dealing more mature themes.
The film is the story of Erik Tim Robbins , a viking who after the murder of an innocent woman during one of his tribe's expedition, discovers that he is not really happy with the whole raping and pillaging customs of his people.
Looking for advice, Erik asks the wise old woman Freya Eartha Kitt for a solution, and she tells him that since Fenris the Wolf has swallowed the sun, the age of violence, Ragnarok, has begun. Worried by this revelation, Erik decides to travel to the legendary land of Hy-Brasil, in order to find the Horn Resounding, the magic artifact that will take him to Asgard and awake the Gods.
With this in mind, Erik prepares an expedition and sails to adventure; but Halfdan the Black John Cleese and Keitel Blacksmith Gary Cady are not so happy about finishing the lucrative business of war, so both decide to follow Erik in order to make him fail. While the movie is not exactly an adaptation of Jones' children's book, his love for history is still all over the movie, as it's filled with countless references to Norse myths and Viking culture.
Python's style of comedy is present in a subtler although no less hilarious way, and like in his previous work, Jones uses "Erik" to make fun of concepts as the social establishment, war, and religion. This last theme is represented in a very interesting way, with the concept of faith and beliefs playing a very important and amusing part of Erik's quest to awake the Gods. However, despite Jones' love for history, people expecting a true and realistic representation of a Norse Edda will be sorely disappointed, as Jones takes many liberties for the sake of comedy and probably to make his movie easier to understand for people not familiar with Norse mythology.
In this his third "solo" effort as director two of the Python films were co-directed with Terry Gilliam , Terry Jones shows the evolution of what was started in "Life of Brian", as while his movie is a story of epic proportions, he keeps the film focused on his characters and their many funny traits. This really works for the movie, as while Erik's crew is numerous, each one is highly detailed and Jones dedicates enough time to get to know everyone of them, developing them as characters and as a team, and making the audience care for them.
This take is also beneficial as lessens the damage done by the poor special effects due to low-budget of some scenes, although to Jones' credit, the way he fuses realism with magic surrealism is also a brilliant move. The somewhat restrained way that Jones uses to approach to comedy this time keeping it focused to the plot instead of using sketches is also more in tone with "Life of Brian" than with the other Monty Python films. Tim Robbins is perfectly cast as Erik, as his really becomes this good hearted, yet extremely naive adventurer, decided to stop the wars of the world.
Man gleitet in guter Gesellschaft von Erik dem Roten durch die Wikingerzeit Die Zeit ihrer Entfaltung war Ende des 9. Hierbei handelt es sich nur um die kriegerischen Eckdaten und die Kernzeit. Sie waren besser als ihr Ruf und nicht schlechter als ihre christlichen Zeitgenossen. Und die sind nicht zu knapp!
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