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Resumen: It is frequently said that humor does not travel well, and wordplay, which is inseparably connected to humor, poses particular problems for the translator as it is intrinsically linked to the source language and culture, and consequently is often described as untranslatable. The translator's task is further complicated when instances of wordplay are encountered in audiovisual texts due to the constrained and semiotic nature of the medium. The aim of this paper is to examine the translation strategies applied to wordplay in the English subtitles of the French film Bienvenue chez les Ch'tis [Boon 2008]. To do this, instances of wordplay in the source text and the target text were classified according to the typology of wordplay as proposed by Delabastita (1996), and subsequently analyzed using the General Theory of Verbal Humor (GTVH) (Attardo and Raskin 1991) in order to contrast the differences between source text and target text instances of wordplay. The findings show the trends in the application of translation strategies and demonstrate that GTVH, albeit with some modifications, is a useful analytical tool in the context of audiovisual translation in that it could show how the puns evolved in translation and therefore give a better understanding of wordplay to aid the choice of translation strategy. As long as a narrow view of equivalence is avoided, this study demonstrates that the translation of wordplay is possible even within the polysemiotic structures of audiovisual texts.

Resumen: Jorge Luis Borges is renowned not only as one of the masters of the Spanish letters in the twentieth century, but also as a major figure in world literature. He was a prolific author, whose vast production has been the subject of many treatises and discussions that, for the most part, focus on his literary, philosophical, aesthetic and ideological preoccupations. There is, however, a crucial aspect of his work (closely related to all these concerns) that has received little scholarly attention until recent times: translation. For Borges, writing, reading and translating were intimately interconnected and the way in which he conceptualised all three acts led him to intuit and, in some cases, outline some of the principles that would become the nucleus of twentiethcentury translation theory. This paper examines Jorge Luis Borges's understanding of translation (which, for him, was an instinct, even a compulsion) with reference to theories that were developed in subsequent years. The aim is to show how Borges anticipated many of the notions that would become central to translation scholarship. In order to achieve this, links will be established between three critical essays by Borges ("Las dos maneras de traducir", "Las versiones homéricas" and "Los traductores de las 1001 Noches") and selected pieces of his fiction, on the one hand, and translation theories, on the other.