Infinitive[Forma I-a]Simple Past[Forma a II-a]Past Perfect[Forma a III-a]Sensul n limba romn

arisearosearisen(a) rezulta, (a se) produce

awakeawokeawoken(a se) trezi

bewas/werebeen(a) fi

bearboreborne/born(a) purta, (a) duce

beatbeatbeaten(a) lovi, nvinge

becomebecamebecome(a) deveni (ceva)

beginbeganbegun(a) ncepe

bendbentbent(a se) ndoi

BETBETBET(a) paria

bid (OFFER)bidbid(a) face o ofert, (a) promite

bindboundbound(a) lega

bitebitbitten(a) muca

bleedbledbled(a) sngera

blowblewblown(a) sufla

breakbrokebroken(a) rupe, (a) sparge

breedbredbred(a) crete, (a) nate

bringbroughtbrought(a) aduce

broadcastbroadcastbroadcast(a) difuza, (a) transmite (radio, TV)

buildbuiltbuilt(a) construi

burnburnt/burnedburnt/burned(a)arde

burstburstburst(a) exploda

buyboughtbought(a) cumpra

cancouldcouth (form arhaic)(a) fi n stare, (a) putea(verb auxiliarmodal)

castcastcast(a) arunca

catchcaughtcaught(a) prinde

choosechosechosen(a) alege

cling (to)clungclung(a se) aga

clotheclothed/cladclothed/clad(a) (se) mbrca, nvemnta

comecamecome(a) veni

costcostcost(a) costa

creepcreptcrept(a se) tr

cutcutcut(a) tia

deal (with)dealtdealt(a se) ocupa (cu)

digdugdug(a) spa

dodiddone(a) face

drawdrewdrawn(a) desena, (a) trage

dreamdreamt/dreameddreamt/dreamed(a) visa

drinkdrank/drunk (Sudul SUA)drunk(a) bea

drivedrovedriven(a) conduce

eatateeaten(a) mnca

fallfellfallen(a) cdea

feedfedfed(a) hrni

feelfeltfelt(a) simi

fightfoughtfought(a) lupta

findfoundfound(a) gsi

fleefledfled(a) fugi din

flyflewflown(a) zbura

forbidforbadeforbidden(a) interzice

forgetforgotforgotten(a) uita

forgiveforgaveforgiven(a) ierta

freezefrozefrozen(a) nghea

getgotgot (UK)/gotten (US)(a) primi, (a) procura

givegavegiven(a) da

gowentgone(a) merge

grindgroundground(a) mcina

growgrewgrown(a) crete

hanghung/hangedhung/hanged(a) atrna

havehadhad(a) avea, (a) poseda

hearheardheard(a) auzi

hidehidhidden(a) ascunde, (a se) ascunde

hithithit(a) lovi

holdheldheld(a) ine

hurthurthurt(a) rni

keepkeptkept(a) pstra

kneelknelt/kneeledknelt/kneeled(a) ngenunchea

knowknewknown(a) ti

laylaidlaid(a) aeza, (a) ntinde

leadledled(a) conduce

lean (against)leant/leanedleant/leaned(a se) rezema

leapleapt/leapedleapt/leaped(a) sri

learnlearnt/learnedlearnt/learned(a) nva, (a) afla

leaveleftleft(a) prsi, (a) pleca

lendlentlent(a) mprumuta

letletlet(a) permite

lielaylain(a se) afla

lightlit/lightedlit/lighted(a) aprinde

loselostlost(a) pierde

makemademade(a) face

meanmeantmeant(a) nsemna, (a-i) pune n gnd

meetmetmet(a) ntlni

paypaidpaid(a) plti

putputput(a) pune

quitquitquit(a) prsi, (a) pleca

readread* [red]read* [red](a) citi

rideroderidden(a) clri

ringrangrung(a) suna

riseroserisen(a) rsri (soarele)

runranrun(a) alerga

sawsawedsawn(a) tia cu ferstrul

saysaidsaid(a) spune

seesawseen(a) vedea

seeksoughtsought(a) cuta

sellsoldsold(a) vinde

sendsentsent(a) trimite

setsetset(a) regla, (a) seta

sewsewedsewn(a) coase

shakeshookshaken(a) scutura

shedshedshed(a) nprli

shineshoneshone(a) sclipi

shootshotshot(a) trage (cu arma)

showshowedshown(a) arta, (a) prezenta

shrinkshrank/shrunkshrunk/shrunken(a se) comprima

shutshutshut(a) nchide

singsangsung(a) cnta

sinksanksunk(a se) scufunda

sitsatsat(a se) aeza

sleepsleptslept(a) adormi

slideslidslid(a) aluneca

smellsmelt/smelledsmelt/smelled(a) mirosi

speak (to)spokespoken(a) vorbi

spellspelt/spelledspelt/spelled(a) ortografia

spillspilt/spilledspilt/spilled(a) turna, (a) risipi

spendspentspent(a) cheltui (bani), (a) petrece (timp)

spitspatspat(a) scuipa

spinspanspun(a) nvrti, (a) roti, (a) toarce

splitsplitsplit(a) mpri

spreadspreadspread(a) distribui, (a) extinde

springsprangsprung(a) sri

spoilspoilt/spoiledspoilt/spoiled(a) strica

standstoodstood(a) sta (n picioare)

stealstolestolen(a) fura

stickstuckstuck(a) lipi

stingstungstung(a) mpunge

stinkstankstunk(a) pute, (a) mirosi (urt)

stridestrodestridden(a) pi

strikestruckstruck(a) ataca, (a) lovi

strivestrovestriven(a) se strdui

swearswore (sware[1])sworn(a) jura

sweepsweptswept(a) mtura

swellswelledswollen(a) se umfla

swimswamswum(a) nota

taketooktaken(a) duce, (a) prinde

teachtaughttaught(a) nva

teartoretorn(a) rupe

telltoldtold(a) spune, (a) povesti

thinkthoughtthought(a) se gndi

throwthrewthrown(a) arunca

treadtrodtrod/trodden(a) clca

understandunderstoodunderstood(a) nelege

undertakeundertookundertaken(a) iniia, (a se angaja)

wakewokewoken(a) trezi

wearworeworn(a) purta

weavewove/weavedwoven/weaved(a) ese

weepweptwept(a) plnge

wetwetwet(a) uda

WINwonwon(a) ctiga

windwoundwound(a) roti

wringwrungwrung(a) rsuci

writewrotewritten(a) scrie

Towards a Model of Describing Humour Translation. A Case Study of the Greek Subtitled Versions of Airplane! and Naked Gun script-based theory of humour developed by Raskin and Attardo- mechanism of humour production involves conflicting knowledge representations . A script is such an organised chunk of information about something, a cognitive structure internalised by the speaker which provides him/her with information on how the world is organised, including how one acts in it; an object (real or imaginary), an event, an action, a quality, etc. (Raskin 1983:199, quoted in Attardo 1994:198 and Attardo 2002:181). Jokes the main object of study for Attardo are based on script opposition/incongruity, the use of words which trigger disparate readings, as they are associated with one or more scripts, or packag- ing of information (e.g. non-sexual or sexual reading of a joke according to the inter- pretation the punchline forces Each joke is a six-tuple, it involves the following parameters, or knowledge resources: language, situation, narrative strategy, target, logical mechanism and script opposition (Attardo and Raskin 1991: 297 and Attardo 2002:176). Language refers to choices on the phonetic, phonological, morphophonemic, morphological, lexical, syntactic, semantic and pragmatic levels, which determine the entire makeup of the joke (Attardo and Raskin 1991:297-299) Narrative strategy is the micro-genre of the joke3 (Attardo and Raskin 1991:300). Target entails the indi- viduals, groups or the parties in general (that includes ideological targets, institu- tions that do not have a clear constituency) which are in some way attacked by the humorist (Attardo and Raskin 1991:301 and Attardo 2002:178). As regards situa- tion, the joke necessarily has to be about something and the situation can entail the objects, the participants, the instruments, the activities and so on, which constitute the props of the joke (Attardo 2001:5 and 2002:179). . Logical mechanism constitutes the resolution of the incongruity present in the joke (Attardo and Raskin 1991:303 and Attardo 1997:409-415). Attardos theoretical frame- work is called General Theory of Verbal Humour (or GTVH for short) A translated joke is an ideal translation when it shares the same script opposition (say sexual vs. non- sexual readings), the same logical mechanism (say analogy or role exchanges), the same situation, the same target (say blondes) and the same narrative strategy as the original (language has to be necessarily changed when translating).