Homophonic transformation

Homophonic translation renders a text in one language into a near-homophonic text in another language, usually with no attempt to preserve the original meaning of the text. In one homophonic translation, for example, the English "sat on a wall" /ˈsætɒnəˈwɔːl/ is rendered as French "s'étonne aux Halles" [setɔnoɑl] (literally "is surprised at the Market"). More generally, homophonic transformation renders a text into a near-homophonic text in the same or another language: e.g., "recognize speech" could become "wreck a nice beach".

Homophonic translation may be used to render proper nouns in a foreign language. A more elegant solution, when possible, is phono-semantic matching, which attempts to have closer semantics as well as the proper sound.

Alternatively, homophonic translation may be used for humorous purpose, as bilingual punning (macaronic language). This requires the listener or reader to understand both the surface, nonsensical translated text, as well as the source text—the surface text then sounds like source text spoken in a foreign accent.

Frayer Jerker is a homophonic translation of the French Frère Jacques (1956). Other examples of homophonic translation include some works by Oulipo (1960–), Frédéric Dard, Luis van Rooten's English-French Mots D'Heures: Gousses, Rames (1967), Louis Zukofsky's Latin-English Catullus Fragmenta (1969), Ormonde de Kay's English-French N'Heures Souris Rames (1980), John Hulme's German-English Morder Guss Reims: The Gustav Leberwurst Manuscript, and David Melnick's Ancient Greek-English Men in Aida (1983).

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