Dissertationen zum Thema „Ukrainian poetry – Translations into English“
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Eichel, Andrew Timothy. „Translating Anglo-Saxon poetry : foreignized translations of "The seafarer" and "The wanderer" /“. View online, 2009. http://repository.eiu.edu/theses/docs/32211131566903.pdf.
Der volle Inhalt der Quelle馮陳善奇 und Sydney S. K. Fung. „The poetry of Han-shan in English: a culturalapproach“. Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2001. http://hub.hku.hk/bib/B31224386.
Der volle Inhalt der QuelleFan, Xing. „A crossing of waters : a dialogical study of contemporary indigenous women's poetry : portfolio consisting of creative work and dissertation“. Thesis, University of Macau, 2011. http://umaclib3.umac.mo/record=b2456341.
Der volle Inhalt der QuelleTAI, Pui Shan. „Interpretation and re-creation : English translations of poetry in the Sanguo Zhi Yanyi“. Digital Commons @ Lingnan University, 2003. https://commons.ln.edu.hk/tran_etd/11.
Der volle Inhalt der QuelleYe, Mao. „Evaluating English translations of ancient Chinese poetry with special reference to image schemas and foregrounding“. Thesis, University of Huddersfield, 2015. http://eprints.hud.ac.uk/id/eprint/27839/.
Der volle Inhalt der QuelleSaedi, Ghareeb. „Foreign affinities : Arabic translations of English poetry and their impact on Modern Arabic verse : a discursive approach“. Thesis, SOAS, University of London, 2018. http://eprints.soas.ac.uk/30281/.
Der volle Inhalt der QuelleSeak, Hoi Hung. „Macao temple poems“. Thesis, University of Macau, 2009. http://umaclib3.umac.mo/record=b2456352.
Der volle Inhalt der QuelleBrammall, Sheldon. „Translating the Prince of Poets : the politics of the English translations of the Aeneid, 1558-1632“. Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283905.
Der volle Inhalt der QuelleGiardina, Eleonora. „Gaelic Literature in Translation: the Effect of English Within and Beyond the Contact Zone The Case of Italian Translations“. Master's thesis, Alma Mater Studiorum - Università di Bologna, 2019. http://amslaurea.unibo.it/17620/.
Der volle Inhalt der QuelleConnolly, Margaret. „An edition of 'Contemplations of the dread and love of God'“. Thesis, University of St Andrews, 1991. http://hdl.handle.net/10023/2786.
Der volle Inhalt der QuelleNakhaeï, Bentolhoda. „Critical Analysis of the Stylistic Transformations in the 19th and 20th-century English and French Translations of Omar Khayyám’s Rubáiyát : exploring the Common Quatrains in FitzGerald, Arberry, Nicolas, and Lazard“. Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA144.
Der volle Inhalt der QuelleThis thesis aims to carry out a meticulous analysis of the transformation of form and meaning in the rendition of the Rubáiyát in four significant 19th and 20th-century translations—two in English and two in French. The translators of the selected translations are Edward FitzGerald, Arthur John Arberry, Jean-Baptiste Nicolas, and Gilbert Lazard. The translations produced by these translators have offered opportunities of investigation within linguistic boundaries. In fact, one may wonder if the translators have transformed the meaning and the form of the Persian quatrains. If so, which procedures have they employed? More precisely, how are the underlying networks of signification rendered by the most significant English and French translators of the 19th and 20th centuries? Furthermore, what is the quality of the writing in the target language in each translation? On the whole, this thesis seeks to appreciate whether the translators have been successful in understanding the significance of the subtext and the elegance of the poetic form of the Rubáiyát.This dissertation provides its readers with a scientific application of the theoretical concepts of different theorists in translation studies, linguistics, and literature. The most salient theories employed in the present research are those of Antoine Berman, Henri Meschonnic, Peter Newmark, Eugene Albert Nida, Susan Bassnett, Mona Baker, Geoffrey N. Leech, I.A. Richards, Roger T. Bell, George Lakoff and Mark Johnson, Michael Hanne, and Max Black. In addition, it must be indicated that this thesis sets out to create a balance between two poles in translation studies, i.e. target-oriented and source-oriented translations.The translation of Omar Khayyám’s Rubáiyát into Germanic and Romance languages is an interesting and controversial subject to discuss. This research seeks to prove that the study of the translations of the Rubáiyát can contribute to highlighting the difficulties and the impossibilities of the rendition of certain issues from Persian into English or French
Auger, Peter. „British responses to Du Bartas' Semaines, 1584-1641“. Thesis, University of Oxford, 2012. http://ora.ox.ac.uk/objects/uuid:be0f89c2-c2e4-482d-ac8f-e867985ff72e.
Der volle Inhalt der QuelleRicci, Roslyn Joy. „Changing approaches to interpretation: twentieth century re-creations of classical Chinese poetry“. 2006. http://hdl.handle.net/2440/37853.
Der volle Inhalt der QuelleThesis (M.A.)--School of Social Sciences, 2006.
Guo, Gong-yi, und 郭功義. „The Conservation and Variation of Poetry Style in English Translations of Li Bai’s Poems“. Thesis, 2012. http://ndltd.ncl.edu.tw/handle/06411258641411515639.
Der volle Inhalt der Quelle長榮大學
翻譯學系碩士在職專班
100
Poems spread across languages and cultural barriers through translation. However, in the process the forms of the source poems are altered, and the styles changed. The purpose of this thesis is to study the variation of linguistic and literary styles in poetry translation, including the prosody, forms, literal meanings and connotations, imageries and poetry implications, from the original Li Bai’s poems to their corresponding English translated versions. Based on a review of literature focused on methodology of stylistic analysis for classical Chinese poems and theories of literary translation, a multi-level stylistic framework was constructed for the purpose of this study. Examples of various English translations of Li Bai’s poems were given as illustrations for discussion on the following issues: (1) the transformation of textural forms in the English translation of Chinese classical poems; (2) misalignment of stylistic elements (words, meaning, imageries and poetic implications) in poetry translation (from Chinese into English, in this study) and across cultural borders; (3) the relative translatability and cross-culture adaptability of stylistic elements in regard to their adherence to linguistic characteristics; (4) comparison of various translation strategies and their effects on the translation in terms of “representing the source text” and “adaptation for the target-language readers,” with a diagram designed for integrating the dual criteria of translation loyalty and readability and its implications on translation criticisms.
„莎士比亞十四行詩漢譯研究“. 2011. http://library.cuhk.edu.hk/record=b5896673.
Der volle Inhalt der Quelle"2011年9月".
"2011 nian 9 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2011.
Includes bibliographical references (leaves 149-158).
Abstract in Chinese and English.
Zhou Min.
Chapter 第一章 --- 緒論 --- p.1
Chapter 1.1 --- 硏究對象和主要內容 --- p.1
Chapter 1.2 --- 莎士比亞十四行詩的漢譯本 --- p.3
Chapter 1.3 --- 文獻回顧 --- p.9
Chapter 1.4 --- 硏究方法和理論 --- p.12
Chapter 第二章 --- 十四行詩的起源與發展 --- p.15
Chapter 2.1 --- 十四行詩的起源與彼得拉克體十四行詩 --- p.17
Chapter 2.1.1 --- 十四行詩的起源 --- p.17
Chapter 2.1.2 --- 彼得拉克與意體十四行 詩 --- p.19
Chapter 2.2 --- 英國的十四行詩風潮與斯賓塞體十四行詩 --- p.23
Chapter 2.2.1 --- 伊麗莎白時代的十四行詩風潮 --- p.23
Chapter 2.2.2 --- 斯賓塞體十四行詩 --- p.26
Chapter 2.3 --- 莎士比亞十四行詩:繼承與創新 --- p.29
Chapter 2.4 --- 十四行詩在中國的早期譯介 --- p.34
Chapter 第三章 --- 莎士比亞十四行詩的形、音、意及其漢譯 --- p.42
Chapter 3.1 --- 莎士比亞十四行詩的形式及其漢譯 --- p.45
Chapter 3.1.1 --- 莎士比亞十四行詩的韻式 --- p.47
Chapter 3.1.2 --- 莎士比亞十四行詩的節 奏 --- p.59
Chapter 3.2 --- 莎士比亞十四行詩的音樂效果及其漢譯 --- p.68
Chapter 3.2.1 --- 聲音音色與音樂效果 --- p.70
Chapter 3.2.2 --- 聲音模式與音樂效果 --- p.76
Chapter 3.2.3 --- 聲音運動與音樂效果 --- p.82
Chapter 3.3 --- 莎士比亞十四行詩的意象及其漢譯 --- p.84
Chapter 3.3.1 --- 莎士比亞十四行詩的“意´ح與“象´ح --- p.86
Chapter 3.3. 2 --- 莎士比亞十四行詩意象漢譯的特殊問題 --- p.101
Chapter 第四章 --- 個別譯本評析 --- p.109
Chapter 4.1 --- 梁宗岱與《莎士比亞十四行詩》 --- p.109
Chapter 4.2 --- 屠岸與《莎士比亞十四行詩集》 --- p.118
Chapter 4.3 --- 辜正坤與《莎士比亞十四行詩集》 --- p.125
Chapter 4.4 --- 梁實秋與《十四行詩》 --- p.133
Chapter 第五章 --- 結語 --- p.141
參考書目 --- p.149
Campbell, Judith A. „Translating Blok's Dvenadtsat' into English: theory and practice“. Thesis, 2015. http://hdl.handle.net/10539/16484.
Der volle Inhalt der QuelleMcGeoch, Ellen. „Les Yeux de Paris: the act of looking and the visual in Baudelaire’s prose poetry“. Thesis, 2012. http://hdl.handle.net/1959.13/940828.
Der volle Inhalt der QuelleA finely-dressed man stands at the balcony of a Paris apartment, gazing at the city. Gustave Caillebotte’s 1875 painting Jeune homme à la fenêtre captures the man from behind and the viewer cannot see his face. He invites the viewer to observe him but he defiantly hides his identity. There is another figure in the scene, framed in the window and whom the dandy’s steady line of sight appears to meet. An unidentified woman stands on the empty boulevard, wearing a fashionable draped bustle skirt in a dark colour in contrast with the pale architecture. She is unaware of her audience, but through this framing and the eye sight of the man at the window, the viewer is drawn to her. Other artworks of the era show the streets of Paris writhing with activity but here all distractions are removed; the lone man gazing at the lone woman on the street is the only interaction, the only sign of life in the work. Whereas the man is safe in his anonymity, a willing and active observer, the woman becomes an exposed art object, unwillingly gazed at and evaluated not only by the man at the window, but the artist himself and the multitude of art gallery visitors who continue to gaze upon her. The painting is an urban landscape and a portrait of two strangers, a man looking and a woman being seen. One is placed on the streets and the other above them, tucked away in his own, contained piece of the city. The piece is also an artwork about the nature of selecting, containing and framing of objects essential to the artistic process, and the inherent hierarchy of the artistic gaze which searches and judges. Several of the concepts in Caillebotte’s painting can be found in Charles Baudelaire’s collection of prose poetry, Le Spleen de Paris: Petits Poèmes en prose, published posthumously in 1869. Both are defined by the act of searching and looking for art’s sake, relying on this hierarchy of the dominating voyeur and dominated object. The following thesis discussion is concerned with the visual processes and the narrator’s gaze in the work. It is of great significance that Baudelaire engaged in both poetry and art criticism; the two are intertwined and at times interchangeable. Given the focus on the visual register, as well as Baudelaire’s active role in the art world, the discussion of the visual processes and themes of the prose poetry alongside nineteenth-century fine artworks serves to establish new inter-disciplinary connections. The collection’s themes and innovations frequently overlap with those being made in fine art during the same time, and although a historical reading of the texts is not the focus, together they serve to contextualise the role of the artist and his gaze, the nature of the modern city and artistic poetic priorities at the time. Baudelaire’s own influential art criticism can be seen as a theoretical outline for his own creative pursuits. In Baudelaire’s prose poetry, the visual register, fine art and concepts of modernity intersect with the written word, and the collection can be seen as a literary incarnation of a visual act.
Eberle, Catherine. „Mediating urban identity : orality, performance and poetry in the work of Koos du Plessis“. Thesis, 2002. http://hdl.handle.net/10413/4452.
Der volle Inhalt der QuelleThesis (M.A.)-University of Natal, Durban, 2002.
Lockett, Marcia Stephanie. „A comparative study of Roy Campbell's translation of the poetry of Federico Garcia Lorca“. Thesis, 1994. http://hdl.handle.net/10500/17224.
Der volle Inhalt der QuelleClassics & Modern European Languages
D. Lit. et Phil. (Spanish)
Koerbin, Paul V. „I am Pir Sultan Abdal : a hermeneutical study of the self-naming tradition (mahlas) in Turkish Alevi lyric song (deyiş)“. Thesis, 2011. http://handle.uws.edu.au:8081/1959.7/507150.
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