Journal articles on the topic 'Childrens literature – Translating'
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1
Hryciv, Nataliya, and Roksolana Syndeha. "PECULIARITIES OF TRANSLATING CHILDREN’S LITERATURE." Naukovì zapiski Nacìonalʹnogo unìversitetu «Ostrozʹka akademìâ». Serìâ «Fìlologìâ» 1, no. 11(79) (September 29, 2021): 64–67. http://dx.doi.org/10.25264/2519-2558-2021-11(79)-64-67.
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The article focuses on the analysis of children’s literature translation. The definition of children’s literature is researched in the article, taking into account its purpose, audience and content, which makes it an interesting subject for studying. The function of the translated text in the target culture may also differ from the one intended by the author. The current study will take into account all of the mentioned factors (purpose, audience and content), taking a functionalist approach to the analysis. While translating children’s literature, the translator is not only the mediator between two systems of language and culture, but he also becomes the second writer of the work. Not only he is to transfer the meaning of the ST (source text) message, but also make it comprehensible for the target audience, which, thus, makes him bear in mind all the features of children’s book.. In the article the special attention is paid to the techniques of translating and its specific issues. The main approaches of translating for children and the features of children’s literature have been also researched.
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Li, Li. "Translating children’s stories from Chinese to English." Babel. Revue internationale de la traduction / International Journal of Translation 63, no. 4 (November 20, 2017): 506–22. http://dx.doi.org/10.1075/babel.63.4.03li.
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Translation, according to the German functional approach to Translation Studies, is a purpose-driven interaction that involves many players. Translating children’s stories is no exception. Using her personal experience of translating Mr. Wolf’s Hotline, a book comprising 47 Chinese children’s stories by Wang Yizhen, a contemporary Chinese writer , in light of the Skopos and text-type theories of functional approach in particular, the author has outlined the strategies and methods adopted in her translations in terms of language, structure and culture. With child readers in mind during the translation process, the translator has used rhetorical devices, onomatopoeic words, modal particles, and also changed some of the sentence structures of the stories, such as from indirect sentences into direct quotations, and from declarative sentences into questions. In terms of culture, three aspects, namely, the culture-loaded images, the names of the characters and nursery rhymes are singled out for detailed analyses. Though marginalized, ‘children’s literature is more complex than it seems, even more complex’ (Hunt 2010: 1), and translation of children’s literature is definitely challenging. This paper outlines the strategies and methods the author has adopted in translating some children's stories from Chinese to English.
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Biloveski, V. "Russian Literature for Children and Juveniles in Slovak Translations." Scientific Research and Development. Modern Communication Studies 9, no. 2 (April 10, 2020): 45–50. http://dx.doi.org/10.12737/2587-9103-2020-45-50.
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The paper discusses the Slovak translations of Russian literature for children and juveniles in the 20th century. It focuses on the translations which represent the classics of children’s reading for Slovak children and juveniles. It also compares the situation of translating Russian literature for children and juveniles into Slovak before 1989 and after that as well as and the quailty of translations in those two different periods of history of Slovakia.
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Omar, Lamis Ismail. "Kamil Kilani’s Adaptation of Shakespeare in Arabic Children’s Literature: Acculturation Versus Enculturation." Theory and Practice in Language Studies 11, no. 12 (December 2, 2021): 1636–46. http://dx.doi.org/10.17507/tpls.1112.16.
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Children’s literature is a young literary genre which is guided by a complex set of motivational, cognitive and metacognitive considerations. In the Arab world, children’s literature emerged in tandem with the modern translation movement but has started to prosper as an independent literary form only recently. Translating for children is an arduous task with myriad challenges on the linguistic, sociocultural and educational levels. This paper aims to research Kamil Kilani’s Arabic adaptation of King Lear as a model to translate for children. Kilani’s translations are significant because they are adapted in a way which responds to the needs of children without simplifying the lexical and stylistic components of the source texts or compromising their cultural content. The paper adopts a descriptive methodology supporting the main argument with comparative examples from the source text and the target text. The analysis shows that Kilani’s adaptation revolutionized the source text’s form and structure, while preserving its conceptual content, language level and style exquisitely. The results suggest that translating for children does not have to embrace cultural adaptation strategies and can instead embrace a model of acculturation between the source text cultural content and the target text readers.
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Mazi-Leskovar, Darja. "Domestication and Foreignization in Translating American Prose for Slovenian Children." Meta 48, no. 1-2 (September 24, 2003): 250–65. http://dx.doi.org/10.7202/006972ar.
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Abstract The purpose of this article is to describe and explore the examples of domestication and foreignization in translations of American prose read by Slovenian children. A few of the earlier American books that have entered the children’s literature canon have been read by dual audience and among these Uncle Tom’s Cabin has the longest tradition. The translations of the novel are presented in the light of domestication and foreignization endeavours. In order to complete and expand the picture of translating for children, a few additional works published in different eras of Slovenian translation history are briefly discussed.
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Oittinen, Riitta. "Where the Wild Things Are." Meta 48, no. 1-2 (September 24, 2003): 128–41. http://dx.doi.org/10.7202/006962ar.
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Abstract Translating picture books is a many-splendored thing: it includes not only the relationship between the verbal and the visual (images and other elements) but also issues like reading aloud and child images. In the following, while mainly concentrating on the visual, I will deal with the other questions as well, as they all interact and influence each other. My starting point is translating as rewriting for target-language audiences – we always need to ask the crucial question: “For whom?” Hence, while writing children’s books is writing for children, translating children’s literature is translating for children. (See Hunt 1990:1, 60-64 and Oittinen 2000.) The reasons why I take such a special interest in translating picture books are twofold: cultural and national as well as individual. In Finland, we translate a lot: 70-80% of all the books published for children annually are translations. From the perspective of picture books, the number may be even higher (and 90% of the translations come from the English language; see Rättyä 2002:18-23). Moreover, being an artist and translator of picture books makes me especially keen on the visual as a translation scholar as well. As a case study, I have chosen Maurice Sendak’s classical picture book Where the Wild Things Are and its translations into German, Swedish and Finnish. At the background of my article is my book Translating for Children (2000) as well as my forthcoming book Kuvakirja kääntäjän kädessä on translating picture books. Due to copyright reasons, I only have picture examples from illustrations of my own.
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Guo, Zongpeng. "Reflections on Readability of Children's Literature Translation." International Journal of Education and Humanities 2, no. 2 (April 7, 2022): 26–27. http://dx.doi.org/10.54097/ijeh.v2i2.280.
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With the development of globalization and the deepening of sino-foreign cultural exchanges, young readers and their parents in China are calling for better translations of children's literature to meet the needs of children in developing language, and reading habits, opening up horizons, experiencing a foreign culture. As an essential indicator for judging the quality of translation, readability is directly related to whether children can accept the translations. Some points have been reflected here on improving the readability of children's literature translations from four levels of phonetics, lexis, sentences, and discourse according to the developmental characteristics of children and their preferences of reading.
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Kwok, Virginia. "Faithfulness in translation of children’s literature." Babel. Revue internationale de la traduction / International Journal of Translation 62, no. 2 (August 10, 2016): 278–99. http://dx.doi.org/10.1075/babel.62.2.06kwo.
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Faithfulness as a principle of translation has been upheld for a long time despite many debates among scholars in the field. In the context of translating children’s literature, this poses further challenges and recent studies have yet to reach a conclusion (Epstein 2012; Nikolajeva 2011; Henitiuk 2011; Kruger 2011; Emery 2004; Dai 2001; Hervey 1997). In this article, from the sociological perspective, I shall discuss this issue by examining Klingberg (1986)’s approach of being faithful to the source text and Oittinen (1993)’s strategy of being faithful to the readers respectively. A study of Chinese translations of The Adventures of Huckleberry Finn for children readers will be looked at. Methods of dialogical approach: purification, simplification, rewording and modernization will be compared with equivalence method to find out which one offers a better reader reception. I argued that having an orientation and purpose of translation with a dialogical view will benefit readers more than simply adhering to the original without deviation at linguistic level. The reasons are that the target text will be more comprehensible for children readers’ stage of cognitive and psychological development, life experience, knowledge, cultural tolerance and linguistic development in reading gems of foreign literature in translation.
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Ghoreishi, Seyyed Mohammad Hossein, and Sirwan Aminzadeh. "The Effects of Translation Shifts on The Readability in Translation of Children’s Literature." Asian Social Science 12, no. 6 (May 20, 2016): 239. http://dx.doi.org/10.5539/ass.v12n6p239.
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<p>This study examines the effects of translation shifts on the level of readability in translating children’s literature. It conducts this study on three Persian translations of “<em>Alice’s Adventures in the Wonderland</em>” to rank Catford’s shifts based on their effects on the readability of translation. To do that, in this study, the typology of Catford’s shifts will be extended, and the way to measure text readability will be modulated to include the effects of these shifts on the translation readability.</p><p>Thus, Ranking 14 types of shifts, the study reveals that complex shifts (represented as clauses and groups in the texts) are more effective than simple shifts (which are symbolized as single word -nouns and adjective, determiners- in the text) on the readability of translations. This means the complex shifts are more recognizable for children. Of course, verbs, although are mostly the representatives of simple shifts, are very effective on readability of text. Since, they, along with clause and group segments, are will recognizable for them. Therefore children cannot determine the place of single words in the text, but are expert in realizing word clusters in form of clauses and groups.</p>
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Wijaya, Elyan. "TERJEMAHAN BERANOTASI DONGENG LE FILS À LA RECHERCHE DE SA MÈRE KE DALAM BAHASA INDONESIA." Paradigma, Jurnal Kajian Budaya 9, no. 1 (April 12, 2019): 15. http://dx.doi.org/10.17510/paradigma.v9i1.244.
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Annotated translation is a study that provides annotations or notes on the chosen equivalents of a number of translated words as a form of translator’s accountability. Using a comparative model, this qualitative study aims to describe the problems that were encountered when translating the source text and finding the right translation strategy to be used for addressing the existing translation problems. In this research, the source text is a children literature (tale) titled Le Fils à la recherche de sa mère by Senegalese author. The problems that were encountered when translating this tale were issues related to language and culture, such as idioms, metaphors, and cultural words. The translation problems were then addressed by using translation strategies (methods and procedures) according to Newmark (1988). In generating translations and annotations, this research referred to various dictionaries and websites. The findings of this research are expected to enrich the French children literature translations from African countries that are rarely found in Indonesia.
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Huang, Furong. "Translation Aesthetics in Children’s Literature." Theory and Practice in Language Studies 7, no. 12 (December 3, 2017): 1327. http://dx.doi.org/10.17507/tpls.0712.22.
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Despite the fact that children’s literature is an important branch of the literary polysystem, it was neglected as a peripheral subject for long. It is not until in recent years that much attention is increasingly poured into it due to the rapid development of economy and booming cross-cultural exchanges. Currently, the newly-developed children’s literature is gradually occupying a dominant position and winning children’s favor. Translated works are no exception. Numerous classic children’s literary works from abroad are translated and retranslated. People tend to care much about translation activities, yet forget to formulate the theoretical framework. The thesis attempts to explore how to incorporate translation aesthetics into children’s literature translation. Children’s literature is characterized by its artistry, which is no doubt linked to children’s unique disposition. Children’s rich imagination, their acute sense of color, rhythm and children-favored animated images, etc. should be given priority in the process of translation. Based on Liu Miqing’s interpretation of translation aesthetics, the thesis will be developed from the perspective of the aesthetic object, the aesthetic subject and their respective aesthetic constituents. Further discussion is given as to the realization of aesthetic transference and representation in translating children’s literature under the guidance of translation aesthetics.
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Asghari, Mehdi, and Bahloul Salmani. "Cultural-context Adaptation in Translation of Children's Short Stories from English to Persian." Theory and Practice in Language Studies 6, no. 5 (May 17, 2016): 965. http://dx.doi.org/10.17507/tpls.0605.08.
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The importance of children’s literature in comparison with the traditional form of translation is something trivial and this is regrettable since translating for children should be done so skillfully that there may be no mental or emotional harm for children. Puurtinen (1994) believes that writing and translating for children which is often regarded as a simple and insignificant matter will be governed by numerous constraints, which normally vary from culture to culture. The present study makes an effort to examine the implications of different adaptation methods proposed by Klingberg (1986) in children’s literature to investigate the claim that the process of translation in children’s literature should consider the level of target text reader’s knowledge and their understanding. In this study, the level of adaptation is evaluated through Klingberg’s theories, in which undue adaptation is disparaged since an undue adaptation keeps children away from new world knowledge.
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Obaid, Ala’a Jasim, and Bayda Ali Al-Obaydi. "To Domesticate or to Foreignize: An Approach to Translating Fables and Fairy Tales." Journal of the College of languages, no. 45 (January 2, 2022): 26–52. http://dx.doi.org/10.36586/jcl.2.2022.0.45.0026.
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The present study deals with the strategies used in the Arabic translations of the most popular genres of children’s literature; namely fairy tales and fables as an attempt to identify the best methods and strategies to be adopted in translating these genres to fulfill the ultimate purpose of enriching the children’s knowledge in addition to attracting their interest and arousing the joy sought for in every piece of literature. The study sets off from three dominating trends: the first calls for the adoption of domestication strategy of translation as the most appropriate and effective strategy in translation for children. In the same line, the second opposes using the foreignization strategy, while the third trend advocates for the joint employment of various strategies to fulfill certain requirements and needs that would be called upon within the context such as didactic purposes. Throughout the process of examining and verifying the theses of these trends, samples of translations of the genres are chosen based on the most popular and well known fairy tales and fables either circulated in written form or televised as movies or cartoons; namely Hans Christian Andersen’s Fairy Tales and Aesop’s Fables. These samples are subjected to translation quality assessment to come out with a quality statement to highlight their merits and demerits. The receptors’ (children) impact is also sought via conducting a field study that has been designed for children of two age groups defined by specialized scholars as intended receptors of the genre
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Sayaheen, Mohannad, Tengku Sepora Tengku Mahadi, and Bilal Sayaheen. "FOREIGNIZING OR DOMESTICATING ENGLISH CHILDREN’S LITERATURE TRANSLATED INTO ARABIC: THE CASE OF ALICE’S ADVENTURES IN WONDERLAND." International Journal of Humanities, Philosophy and Language 2, no. 8 (December 15, 2019): 175–87. http://dx.doi.org/10.35631/ijhpl.280013.
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This study investigated two significant translation methods, namely foreignization and domestication, when translating children’s literature from English into Arabic. The purpose of the study is to find answers for two questions. First, do the norms regulate the translation of English children’s literature into Arabic. Second, to which method do translators opt for when translating English children’s literature into Arabic. The current paper attempts to identifying whether translating English children’s literature into Arabic is regulated by norms or not. The translator has one option when translating a text, either to domesticate or to foreignize the text based on Schleiermacher’s method of translation. Two translated versions of Alice’s Adventures in Wonderland were analysed at the level of diction and discourse. A descriptive analysis of the norms was used to analyse this study and specific theoretical frameworks were used by the researchers in order to classify the selected items. The classification included ten major categories proposed by Klingberg (1986). After spotting the selected items based on the mentioned theoretical framework, each item translated in both versions was classified based on the two main methods that consist the centre of the current study i.e., domestication and foreignization Pedersen (2005). The results of the analysis show that the translations of these two Arabic versions are not systematically regulated by norms; examples of both foreignization and domestication were found in both versions. However, the analysis shows that either domestication or foreignization is more prevalent in each version.
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Joosen, Vanessa. "Children’s Literature in Translation: Towards a Participatory Approach." Humanities 8, no. 1 (March 6, 2019): 48. http://dx.doi.org/10.3390/h8010048.
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In the Netherlands and Flanders, more or less a fifth of all children’s books are translations. The decision of what gets translated and funded is, for the most part, informed by adults’ decisions. This paper offers a first step towards a more participatory approach to the translation of books for young readers by investigating children’s understanding of translation processes and the criteria that they put forward as desirable for the international circulation of children’s books. It presents the findings from interviews and a focus group talk with child members of the “Kinder- en Jeugdjury Vlaanderen”, a children’s jury in which the jurors read both original and translated works. While the children did not always realize which books were translated, they did express clear views on their preferred translation strategies, highlighting the potential to learn about other cultures while also voicing concern about readability. They cared less about exporting their own cultural heritage to other countries, and put the focus on the expansion of interesting stories to read as the main benefit of translations. While this project still involved a fairly high level of adult intervention, it makes clear the potential of children to contribute to decisions about the transnational exchange of cultural products developed for them.
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Martínez Sirés, Paula. "Defamiliarizing translations of children’s literature in Meiji Japan: a study of Wakamatsu Shizuko’s Wasuregatami." MonTI. Monografías de Traducción e Interpretación, no. 14 (April 28, 2022): 323–51. http://dx.doi.org/10.6035/monti.2022.14.11.
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This paper will examine Wasuregatami (‘The Memento’, 1890), Wakamatsu Shizuko’s Japanese translation of Adelaide Anne Procter’s poem The Sailor Boy (1858). The poem is narrativized into the Japanese monogatari style and the culturemes are assimilated into the target-culture context of Japan in an apparently domesticating approach. Nevertheless, Wakamatsu Shizuko’s inclusion in the translation of original source-culture items and the implementation of the experimental colloquial genbun itchi (vernacular) literary style could also exemplify Venuti’s foreignizing and “defamiliarizing” translation since it goes “beyond literalism to advocate an experimentalism” by using “registers, and styles already available in the translating language to create a discursive heterogeneity” (Venuti 2000: 341). This paper will contend that the style used in Wasuregatami was the cornerstone on which Shizuko would base her later, more acclaimed translations of children’s literature into Japanese.
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O'Sullivan, Emer. "Translating children’s literature: what, for whom, how, and why. A basic map of actors, factors and contexts." Belas Infiéis 8, no. 3 (July 25, 2019): 13–35. http://dx.doi.org/10.26512/belasinfieis.v8.n3.2019.25176.
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This article presents a systematic look at the different actors, factors, and contexts involved in the field of translating children’s literature. Taking as its point of departure the somewhat provocative question “Why translate children’s literature?”, it goes on to parse the three component parts. “Why?” involves looking at the motivation and interests of the various human and non-human actors (publishing houses, organizations, translators etc), as well as the complex interplay of geopolitical, economic, and cultural factors on publishing and literary transfer. Of the verb “translate” is asked “for whom?”, to examine questions of address and its role in translation, and then “how?”, to discuss determinants, strategies, and tendencies in translating children's literature. “Children’s literature”, the object of the translation activity, will be looked closely in response to the question “what?”, to illustrate the heterogeneity of its corpus and to show that it encompasses more genres and forms than are commonly featured in studies of translated children’s literature. The overall goal of the article is to provide a basic map of this complex field.
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Mdallel, Sabeur. "Translating Children’s Literature in the Arab World." Meta 48, no. 1-2 (September 24, 2003): 298–306. http://dx.doi.org/10.7202/006976ar.
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Abstract Children’s literature in the Arab World is impregnated with morality, didactics and a heavy ideological bias, in spite of some attempts for change. Translating for children is, in its turn, governed by the same rules that govern writing for them.Translation is not only a lexical but also a cultural transfer. Adopting some protective cultural measures, while translating for children, becomes inevitable especially if the source and target cultures have little in common. The Arabian Nights is the first book for children in the Arab world, though not initially meant for them, to be translated into many languages and has become part of international Children’s Classics.
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Shmakova, Anastasiia Valerievna. "How is the translation of English fairy tales born in the aspect of intercultural communication." Litera, no. 4 (April 2022): 1–8. http://dx.doi.org/10.25136/2409-8698.2022.4.37682.
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The relevance of the research topic is due to the increased interest in fairy tales within various directions and approaches, which is associated with the loss of low-quality stigma in children's literature compared to works intended for adults. Within the framework of translation theory, the main attention is paid to the peculiarities of the transfer of linguistic and stylistic features of children's literature and other translation difficulties. The purpose of the study is to identify patterns of transmission of national and cultural identity in the translation of fairy tales. Fairy tales from the collections "Pack from the Magic Hills" and "Gifts of fairies" by R. Kipling are considered. A linguistic and cultural analysis is carried out, the used translation transformations are highlighted.The subject of the study is the general trends in the treatment of elements of foreign culture when translating English fairy tales into Russian. В The scientific novelty lies in the analysis of translation from the position of adaptation of culturally colored elements for children. It is revealed that cultural adaptation is often made, which is not required for adult works. The results of the study demonstrate that in the process of translating English fairy tales, a balance is being sought between introducing children to another culture and the need to adapt the material for ease of perception by the audience. When translating for children, translation transformations are actively used, bringing culturally colored elements closer to familiar ones or simplifying their understanding, which is not always required for an adult audience. The way of handling labeled elements depends on their plot and ideological significance, cultural value and level of fame, the context of use, the chosen translation strategy and other factors.
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Gromova, Mariya. "Translations of slovenian children’s poetry into russian." Children's Readings: Studies in Children's Literature 18, no. 2 (2020): 364–81. http://dx.doi.org/10.31860/2304-5817-2020-2-18-364-381.
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This study summarizes the history of Slovenian poetry for children and its translation into Russian. The article reviews translated poems by Slovenian authors and Slovene folk poetry written for children from 1955 to the present. Translations of Slovenian children’s folk lore into Russian date back to 1971. They are mainly represented by folk songs and addressed to preschoolers translated into Russian by Leonid Yakhnin. Currently, Zhanna Perkovskaya is engaged in translations of Slovenian children’s literature into Russian. The largest number of publications of Slovenian poetry for children happened in the 1980s. After 1991, there was a long period of silence. However, in recent years, due to the interest of Russian publishers in Slovenian children’s literature successful at home, as well as a significant demand for books for preschoolers, the publication of children’s poetry by Slovenian authors has resumed.
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Coussy, Audrey. "Translating Children's Literature." Translation Studies 12, no. 1 (November 29, 2018): 126–28. http://dx.doi.org/10.1080/14781700.2018.1543614.
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Nikolajeva, Maria. "Translating children’s literature." Interpreter and Translator Trainer 10, no. 3 (September 2016): 369–72. http://dx.doi.org/10.1080/1750399x.2016.1236565.
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Hongshun, Li. "Translating children’s literature." Perspectives 27, no. 5 (February 7, 2019): 776–78. http://dx.doi.org/10.1080/0907676x.2019.1569846.
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Alvstad, Cecilia. "Ambiguity translated for children." Target. International Journal of Translation Studies 20, no. 2 (November 3, 2008): 222–48. http://dx.doi.org/10.1075/target.20.2.03alv.
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This article addresses ambiguity in translations for children. ‘Ambiguity’, here understood as something that allows for more than one interpretation, is supposed to be critical in translation for children as it clashes with some mediators’ ideas of what children’s literature is or ought to be. Hans Christian Andersen’s tale of “Den standhaftige Tinsoldat” [‘The steadfast tin soldier’] and a sample of twenty-four translations thereof (twelve into Swedish and twelve into Spanish) are used to explore different ways that ambiguity is translated for children. The objective is to determine if and how the tale’s ambiguities are manipulated in the various translations, and thus to initiate a theoretical discussion of ambiguity in translation for children. A difference is established between ‘textually resolvable’ and ‘textually irresolvable’ ambiguities and these two kinds of ambiguity are found to be treated differently in the analyzed sample of translations.
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Shmakova, Anastasiia Valerievna. "Transparency and mirroring of literary translations of fairy tales by the English writers." Litera, no. 11 (November 2021): 1–8. http://dx.doi.org/10.25136/2409-8698.2021.11.36631.
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The subject of this research is the English-Russian translation of fairy tales from the perspective of transparency and mirroring. The goal of this research is to determine the strategy for literary translation of the English fairy tales. Linguostylistic and comparative analysis is conducted on B. Zakhoder's translations of such fairy tales as “Alice in Wonderland” by L. Carroll, “Winnie the Pooh and All, All, All” by A. Milne, and “Mary Poppins” by P. Travers. The modern theory of translation largely focuses on the various aspects of equivalence and adequacy of the original and translated texts; describes the requirements for the quality of translation, including literary translation. Russian and foreign researchers show heightened attention to the concepts of transparency and mirroring in translation, namely literary translation of children's literature substantiated by the specificity of the target audience. The scientific novelty consists in application of the modern postulates of the theory of translation to children's literature, which broadens knowledge in this scientific field. The main conclusion lies in following the theory of translation transparency for the child reader in translation of children's literature. As a result of the analysis of B. Zakhoder’s translations of fairy tales by L. Carroll, A. Milne, and P. Travers into the Russian language, it is noted that they reflect the general patterns of translation children's fiction, take into account psychological characteristics of the audience, text is adapted to be comprehensible for children, considerable attention is given to the emotional component, expressiveness, and humor. Although B. Zakhoder’s translations are not the full interpretation, he follows the theory of transparency. Imaginative interpretation of the text demonstrates the specificity of translator’s individual style.
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Kurniawan, Mozes. "The Analysis of Interlingual and Intralingual Interference in Children’s Literature Translation Project." Celt: A Journal of Culture, English Language Teaching & Literature 18, no. 2 (December 22, 2018): 223. http://dx.doi.org/10.24167/celt.v18i2.1177.
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Translation is important in preparing children's literature, especially in children's education. When a prospective teacher does not correctly translate teaching materials, children will be impacted by such inaccuracies such as learning confusion, improperly instilled socio-cultural values and even inadequate intellectual development. The disturbances mentioned are under these two condition such as: interlingual interference (also known as transfer between languages) and intralingual interference (also known as transfer in one language) which is reflected from the translation of English-language teaching materials. This research was a descriptive research aiming to find out, describe and explain the interlingual and intralingual interference found in children’s literature translation project. Participants of this research were students who joined in English Language Learning class of Early Childhood Teacher Education study program, Faculty of Teacher Training and Education, Universitas Kristen Satya Wacana Salatiga. By using translation task/project and semi-structured interview, the research data was collected. The result showed that students still encounter interlingual and intralingual interference especially in some categories. This finding triggered English language practitioners to cope with translation disorder in order to produce the best translated material for children’s education.
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Cocargeanu, Dana. "The Adventures of Peter Rabbit in Romania: Translation Challenges and Strategies." International Research in Children's Literature 7, no. 2 (December 2014): 198–212. http://dx.doi.org/10.3366/ircl.2014.0132.
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Romanian children's literature, particularly translations for children, has rather low visibility in international children's literature scholarship, and translations of Beatrix Potter have not been extensively researched, either. This article contributes to filling these gaps by exploring the challenges involved in the recent publication of the first licensed Romanian edition of Beatrix Potter and the strategies employed to solve them. It identifies extra-textual challenges, related to the possibility of publishing Potter, the licensing process, the selection of particular tales and book formats for publication, and marketing strategies; and textual challenges, arising from Potter's writing style, the interdependence between visual and verbal aspects in her tales, their cultural specificity and read-aloud qualities. It also discusses the roles of the British and Romanian publishers in the publishing process and relates the translation strategies visible in the texts to the translator's apparently divided responsibility towards Potter and the Romanian audience, her conceptions of children and children's literature, and the Romanian literary tradition.
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Badić, Edin. "An Analysis of Paratexts in the (Re)translations of Oliver Twist into Croatian." Libri et liberi 9, no. 1 (November 18, 2020): 37–59. http://dx.doi.org/10.21066/carcl.libri.2020.1.3.
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The aim of the present study is to analyse paratextual elements in Croatian (re)translations of Charles Dickens’ classic social novel Oliver Twist; or, The Parish Boy’s Progress (1837–1839). We will explore the level of paratextual (in)visibility of translators in the (re)translations of Oliver Twist and observe how their (in)visibility might affect the reading and interpretation of the novel. The fact that Oliver Twist has been on the reading lists for Croatian primary schoolers ever since the early 1950s may account for the intense interest in the novel on the part of Croatian publishers. The first edition of Oliver Twist into Croatian appeared in 1901 and, since then, three (re) translations have been published, as well as a large number of reprints. The findings aim to contribute to a better understanding of Croatian translation history, shedding light on different approaches to translating children’s literature and the effects such translation practices may have had on the expectations of the target readership.
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Beauvais, Clementine. "An emergent sense of the literary: Doing children’s poetry translation in the literature classroom." Journal of Literary Education, no. 2 (December 6, 2019): 8. http://dx.doi.org/10.7203/jle.2.14827.
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This article brings together findings from translation theory, the poetics of children’s poetry, and the pedagogy of translation, in an attempt to theorise the practice of poetry-translation in the literary classroom. I argue that translating children’s poetry in the context of translation workshops mobilises skills, and encourages ways of thinking about poetry, that espouse particularly well one of the complex challenges of literary education: namely, triggering in learners an emergent sense of the literary. Poetry-translation, I contend, allows for profoundly experiential engagement with some of the most sophisticated, and least easily articulated, aspects of the aesthetics of literature – prominently, the resistance of the literary text to paraphrase, the lack of a clear content-form dichotomy, and the embodied aspects of the literary encounter. Because translating is never just writing, but always already writing one’s reading, the translation of poetry in the literary classroom requires pupils to capture, experience, and take ownership of their encounters with literature, in order to re-express them. I first explain the practice of literary translation in the classroom; I then talk about contemporary poetry translation theory and its deeply phenomenological approach to text. I next show why the particular poetics of children’s poetry situate that kind of text ideally for a pre-semantic, intuitive approach to poetry translation. Finally, I look at the writing process as a way of turning the pupil into what Roland Barthes calls a poéticien, a person whose poetry-writing does theoretical work.
Key words: children’s poetry, translation, literary education, aesthetics
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Alla, Aida. "Challenges in Children's Literature Translation: a Theoretical Overview." European Journal of Language and Literature 2, no. 1 (August 30, 2015): 15. http://dx.doi.org/10.26417/ejls.v2i1.p15-18.
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There is an increasing demand for translation of children’s literature nowadays and this demand is accompanied by an increased need for the researchers to study the nature and feature of such a discipline. It is worth mention that the word “children’s literature” in English-speaking countries is a broader term covering children, adolescents and sometimes young adults. The present paper aims to highlight some comprehensive theoretical aspects concerning children’s literature translation. Special attention is paid to the issues which have generated lots of intense and ongoing debates among theoreticians as to which translation strategies and procedures would be more beneficial to the target language child reader. Before elaborating on such issues, this paper casts some light on the various definitions of children’s literature and its characteristics, its status and the role it exerts on the potential readership. Ambivalence of children’s literature – the texts being addressed to both children and adults – constitutes one of the biggest challenges for the author and the translator of children’s literature alike. Such a phenomenon is investigated in this paper illustrated with some book titles. Another feature which is tackled in this paper is that of asymmetry, which refers to the unequal communication levels between adults and children. Finally, conclusions will be drawn regarding to most popular theoretical trends of children’s literature and children’s literature translation.
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Čermáková, Anna. "Translating children’s literature: some insights from corpus stylistics." Ilha do Desterro A Journal of English Language, Literatures in English and Cultural Studies 71, no. 1 (January 15, 2018): 117–34. http://dx.doi.org/10.5007/2175-8026.2018v71n1p117.
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In this paper I explore the potential of a corpus stylistic approach to the study of literary translation. The study focuses on translation of children’s literature with its specific constrains, and illustrates with two corpus linguistic techniques: keyword and cluster analysis — specific cases of repetition. So in a broader sense the paper discusses the phenomenon of repetition in different literary (stylistic) traditions. These are illustrated by examples from two children’s classics aimed at two different age groups: the Harry Potter and the Winnie the Pooh books — and their translations into Czech. Various shifts in translation, especially in the translation of children’s literature, are often explained by the operation of so-called ‘translation universals’. Though ‘repetition’ as such does not belong to the commonly discussed set of translation universals, the stylistic norms opposing repetition seem to be a strong explanation for the translation shifts identified.
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Kuncara, Singgih Daru. "PENERJEMAHAN NAMA TOKOH KARYA SASTRA ANAK KE DALAM BAHASA INDONESIA (THE TRANSLATION OF CHARACTER’S NAME IN CHILDREN’S LITERATURE INTO INDONESIAN)." Jalabahasa 12, no. 1 (November 29, 2018): 23–32. http://dx.doi.org/10.36567/jalabahasa.v12i1.105.
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Makalah ini mendiskusikan penerjemahan nama dalam karya sastra anak. Keunikan penerjemahan untuk anak-anak adalah penerjemah fokus pada pembaca sasaran. Objek penelitian pada tulisan ini adalah nama karakter dalam cerita Walt Disney. Teknik penerjemahan nama yang digunakan adalah peminjaman murni, peminjaman alamiah, harfi ah, dan adaptasi. Penerapan teknik adaptasi sebaiknya diminimalkan karena cenderung melanggar keinginan penulis karya sastra untuk memberikan nama yang bermakna pada karakter tertentu. Selain itu, pengurangan teknik adaptasi dapat membantu anak-anak agar memahami budaya lain. This paper discusses translation of personal name in children’s literature. The uniqueness of translating for children is that the translator is concerned with the target readers. The object of this paper is character’s name in Walt Disney stories. Techniques in translating names are pure borrowing, naturalized borrowing, literal translation, and adaptation. Adaptation technique should be minimized because it tends to violate the author’s intention to give a meaningful name to a certain character name. Reducing adaptation technique also helps the children to respect and know about other cultures.
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Эфендиева, Назрин Расим кызы, and Ирина Анатольевна Поплавская. "S. YA. MARSHAK AS A TRANSLATOR OF POETRY AND PROSE BY G. RODARI." Tomsk state pedagogical university bulletin, no. 4(222) (July 15, 2022): 137–46. http://dx.doi.org/10.23951/1609-624x-2022-4-137-146.
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Введение. Диалог русской и западноевропейской литературы, переводы иноязычных текстов и их ассимиляция в принимающей культуре, создание национальных мирообразов – все эти вопросы являются актуальными в современном литературоведении, переводоведении, страноведении. Эстетические принципы С. Я. Маршака при переводе поэзии и прозы итальянского писателя Дж. Родари соответствуют его концепции перевода-портрета и органично вписываются в историю русской и итальянской литературы для детей середины XX в. Цель видится в раскрытии взаимосвязи между принципами Маршака-переводчика и их преломлением в переводах поэзии и прозы Дж. Родари, адресованных ребенку-читателю. Материал и методы. Материалом исследования являются критические статьи С. Я. Маршака, стихотворения Дж. Родари «Чем пахнут ремесла?», «Венеция» и прозаическая повесть-сказка «Приключения Чиполлино», переведенная З. М. Потаповой и отредактированная С. Я. Маршаком. В работе используются рецептивный и имагологический подходы, сравнительно-типологический, сравнительно-исторический и сравнительно-сопоставительный методы, а также контекстуальный анализ и контент-анализ оригинальных произведений Родари и их русских аналогов-переводов. Результаты и обсуждение. Выделяются разные типы переводов – «адресный» перевод К. И. Чуковского, «перевод-портрет» и перевод-редактирование С. Я. Маршака. В соответствии с поэтикой итальянской поэзии для детей и итальянской литературной сказки анализируются переводы С. Я. Маршаком стихотворений Дж. Родари и перевод-пересказ повести «Приключения Чиполлино». Выявляются фольклорные истоки итальянской детской литературы, связь сказки о мальчике-луковке с традициями «commedia dell’arte» и с волшебной сказкой, раскрываются особенности читательской рецепции ребенка, осмысляется «двойная» эстетическая позиция автора, пишущего для детей: «взрослое» сознание, воскрешающее в себе сознание и мировосприятие ребенка. Рассматриваются и сравниваются переводческие принципы С. Я. Маршака-поэта и С. Я. Маршака-прозаика. Подчеркивается роль произведений Дж. Родари в формировании русско-итальянских литературных и культурных взаимосвязей и в становлении отечественной литературы для детей.Заключение. Анализируется близость переводческих принципов Дж. Родари и С. Я. Маршака, выясняется соотнесенность переводческих стратегий русского автора с традициями отечественной переводной литературы. Раскрывается роль С. Я. Маршака и М. Горького в открытии Государственного издательства детской литературы в 1933 г. Определяется круг писателей, заложивших основы советской литературы для детей в первой половине XX в. Выявляется связь переводческих принципов С. Я. Маршака с концепцией современного адаптивного перевода Г. М. Кружкова. Для полноты рецепции русской литературы для детей привлекается статья М. И. Цветаевой «О новой русской детской книге». Introduction. The dialogue of Russian and Western European literature, translations of foreign texts and their assimilation in the host culture, the creation of national world images – all these issues are relevant in modern literary criticism, translation studies, and country studies. The aesthetic principles of S. Ya. Marshak in translating the poetry and prose of the Italian writer J. Rodari correspond to his concept of translation-portrait and organically fit into the history of Russian and Italian literature for children in the middle of the 20th century. The purpose of the article is seen in the disclosure of the relationship between the principles of Marshak-translator and their refraction in translations of poetry and prose by J. Rodari, addressed to the child reader. Material and methods. The material of the study is critical articles by S. Ya. Marshak, poems by G. Rodari “What do crafts smell like?”, “Venice” and the prose story-tale “The Adventures of Cipollino”, translated by Z. M. Potapova and edited by S. Ya. Marshak. The work uses receptive and imagological approaches, comparative-typological, comparative-historical and comparative-comparative methods, as well as contextual and content analysis of Rodari’s original works and their Russian counterparts-translations.Results and discussion. There are different types of translations – “address” translation by K. I. Chukovsky, “translation-portrait” and translation-editing by S. Ya. Marshak. In accordance with the poetics of Italian poetry for children and the Italian literary fairy tale, S. Ya. Marshak’s translations of G. Rodari’s poems and the translation-retelling of the story “The Adventures of Cipollino” are analyzed. The folklore origins of Italian children’s literature are revealed, the connection of the fairy tale about the onion boy with the traditions of “commedia dell’arte” and with a fairy tale, the features of the reader’s perception of the child are revealed, the “double” aesthetic position of the author writing for children is comprehended: “adult” consciousness, resurrecting in itself the consciousness and worldview of the child. The translation principles of S. Ya. Marshak-poet and S. Ya. Marshak-prose writer are considered and compared. The role of the works of G. Rodari in the formation of Russian-Italian literary and cultural relationships and in the formation of Russian literature for children is emphasized. Conclusion. The closeness of the translation principles of J. Rodari and S. Ya. Marshak is analyzed, the correlation of the translation strategies of the Russian author with the traditions of Russian translated literature is clarified. The role of S. Ya. Marshak and M. Gorky in the opening of the State Publishing House of Children’s Literature in 1933 is revealed. The circle of writers who laid the foundations of Soviet literature for children in the first half of the 20th century is determined. The connection between the translation principles of S. Ya. Marshak and the concept of modern adaptive translation by G. M. Kruzhkov is revealed. For the completeness of the reception of Russian literature for children, the article by M. I. Tsvetaeva “On the new Russian children’s book” is used.
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Balińska, Agata M. "The Intralingual Translation or Rewording of British and American Literary Works on the Basis of Children’s and Young Adult Literature." Między Oryginałem a Przekładem 26, no. 47 (March 13, 2020): 139–64. http://dx.doi.org/10.12797/moap.26.2020.47.07.
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The paper reviews instances of intralingual translation between British and American English. Its main focus is the translation of literary texts aimed and children and young readers which were written in Britain and then altered before being released on the American market. Examples of cases where originally American texts were altered for British readers, a less common trend, are also provided. The text explores typical differences between British and American English, the position of children’s literature and the motivations behind the changes, examples of alteration to titles of books, changes that trigger changes of larger portions of texts, alterations to the style of the books, and areas where the authors of the translations corrected authors’ mistakes. Most of the examples are based on previously published works which analyzed intralingual translation between British and American English in children’s literature, with some taken from unpublished research by the author. The paper was written with the hope that it will help create more awareness of the existence of such translations, especially since in most cases no information that such changes were made is provided within or outside the literary texts discussed in this paper.
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Mdallel, Sabeur. "Translating for children in the Arab world: an exercise in child political socialization." Translation Matters 2, no. 2 (2020): 160–71. http://dx.doi.org/10.21747/21844585/tm2_2a10.
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Translating under the Arab dictatorships is a perilous task, as censorship bodies control all means and forms of expression. This is particularly true for children’s literature, which is a powerful tool of political socialisation. Al-Hajji’s Guide to Arab children's literature, translated in the Arab world from 1950 to 1998, shows that no book that undermines the dominant ideology has ever been translated in this geographical context. However, if a book chosen for translation contains some elements that might be viewed as subversive, strategies are adopted that automatically annihilate any threat. This paper focuses on the Arabic translation of Anna Sewell’s Black Beauty, published in Syria in 1991, to which elements have been added that were never envisaged by the original author.
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O’Sullivan, Emer. "Narratology meets Translation Studies, or, The Voice of the Translator in Children’s Literature." Meta 48, no. 1-2 (September 24, 2003): 197–207. http://dx.doi.org/10.7202/006967ar.
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Abstract When critics identify ‘manipulations’ in translations, these are often described and analysed in terms of the differing norms governing the source and the target languages, cultures and literatures. This article focuses on the agent of the translation, the translator, and her/his presence in the translated text. It presents a theoretical and analytical tool, a communicative model of translation, using the category of the implied translator, the creator of a new text for readers of the target text. This model links the theoretical fields of narratology and translation studies and helps to identify the agent of ‘change’ and the level of communication in which the most significant modifications take place. It is a model applicable to all translated narrated literature but, as examples illustrate, due to the asymmetrical communication in and around children’s literature, the implied translator as he/she becomes visible or audible as the narrator of the translation, is particularly tangible in translated children’s literature.
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Tajeddini, Shahrzad, and Masoud Sharififar. "Translation of Children's Literature in Iran and the Dichotomy of Identities." International Research in Children's Literature 7, no. 1 (July 2014): 48–63. http://dx.doi.org/10.3366/ircl.2014.0113.
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As a neglected literary field in Iran, children's literature suffers a low domestic production and consequently the market is dominated by imported western books. Iranian translators have taken this opportunity to try to introduce children to new concepts from other cultures in hope of raising the level of tolerance and respect for ‘the other’ among them in a world dominated by the rhetoric of war. But young readers’ knowledge is limited; therefore they cannot be expected to comprehend the representations of other cultures which are taken for granted in adults’ literature. There emerges a conflict of norms in choosing to privilege domestication or foreignisation and thence local or global identity. In this study, four British children's books by Roald Dahl were chosen and compared with their Persian translations to find the main concerns of the translators in dealing with identity-reflecting items as classified by Helen T. Frank's research into translating for children, and thence to establish the most frequent type of identity encouraged by Persian translators for young readers. The article concludes that international understanding has been the main concern of Persian translators and global identity was more recurrently promoted by them.
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Draganovici, Mihai. "ZUR ÜBERSETZUNG JOHANNA SPYRIS KINDERROMANS „HEIDI“ INS RUMÄNISCHE." Годишник на Шуменския университет. Факултет по Хуманитарни науки XXXIIIA, no. 1 (November 10, 2022): 261–68. http://dx.doi.org/10.46687/hxei4006.
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The children's novel "Heidi" by the Swiss author Johanna Spyri is one of the most famous works of children's literature worldwide. Accordingly, it has been published in Romania in numerous translations, especially after 2008. What is also special about these translations is the fact that most of them were not translated from German but from English. The present article sets out to analyse some relevant aspects of translation, based on the theoretical considerations of relevant theorists in the field of translation of children's literature.
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Guo, Wentao. "Eco-translatology-based Analysis of Children’s Literature Translation—A Case Study: Peter Pan." English Language and Literature Studies 11, no. 2 (May 25, 2021): 57. http://dx.doi.org/10.5539/ells.v11n2p57.
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Children’s literature occupies a peripheral position in literature system according to the polysystem theory so that the translators of children’s literature can manipulate the texts with great liberty. The translator of children’s literature in the ternary relation of translation, namely the source texts, the translator and the target text, is in a relatively important position. Thus, it is a feasible way to analyze the translation of children’s literature from the translator-centered perspective. Eco-translatology is a translator-centered translation theory, aiming to analyze how the translator selects and adapts during the translation process in the translational eco-environment. In this paper, the author will adopt Eco-translatology as the translation framework to analyze the translation of children’s literature, and try to explore how ‘children’, an important factor in the translational eco-environment, influences the translator’s selection and adaptation in the process of translating children’s literature. Furthermore, the author will take Peter Pan as a case study, comparing two Chinese versions of this book to analyze how the two translators adapt and select differently from those three dimensions during the translation process, as one follows the target-reader-oriented strategy and the other one follows the source-text-oriented strategy.
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Ashirbekovna, Rakhimova Gulsanam. "CHILDREN IN FRENCH LITERATURE DURING THE LAST CENTURIES AND THEIR UZBEK TRANSLATIONS." International Journal of Engineering Technologies and Management Research 6, no. 3 (March 25, 2020): 21–26. http://dx.doi.org/10.29121/ijetmr.v6.i3.2019.362.
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In this article are analyzed the world view of children in French literature during the last centuries and his transmission into Uzbek translations in a comparisons with other works of centuries with allow to establish the differences in the lives of children as well as the imagination of today's children. In particular, for the nineteenth century is chosen “Without family”, written in 1878, one of the most famous novels of Hector Malot and “Mondo and other stories” of JMG Le Clézio, published in 1978, exactly a century after “Without family”. Also, is analyzed the reproduction of French reality words in Uzbek translations as well as to study other translation problems that translators may encounter during their work. For this purpose is chosen the originals of Ch. Perrault's tales as well as their Russian and Uzbek translations in a comparisons of the Uzbek translations of tales by Ch. Minovarov, M. Kholbekov, T. Alimov, I. nZorov and A. Akbar. During the analyzes are revealed several functions of translation such as communicative, cultural common, knowledge-luminous, educational etc. The translation literature serves not only to spread knowledge about the world and man, but actively promotes the formation of the worldview, morale, taste, orientation of values in person, the creation of accurate reports between people, i.e. promotes the establishment of our political, aesthetic, moral and value to life.
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Osiyanova, Anna V., and Yuliya F. Tsimmerman. "REALITIES TRANSFER IN THE TRANSLATION OF THE ANIMATED SERIES MASHA AND THE BEAR INTO ENGLISH." Sovremennye issledovaniya sotsialnykh problem 14, no. 2 (June 30, 2022): 369–82. http://dx.doi.org/10.12731/2077-1770-2022-14-2-369-382.
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The ways of translating realities into English and the features of translating realities in translation of children’s audiovisual content are considered in the article. The definitions of the concepts “reality”, “audiovisual translation”, “audiovisual text” are analysed.
Purpose. Consideration of possible ways of realities translation in audiovisual translation and study of the problem of cultural adaptation of children’s audiovisual products are given in the article.
Materials and methods. The research material comprises Russian-made children’s animated series Masha and the Bear. A review of scientific literature on the selected topic, a method of analysis and a descriptive method were chosen as methods of scientific research.
Results. The results of the study proved that the most common ways of translation realities into another language were the selection of analogues and lexical substitutions. Calquing is used less frequently. Transcription and transliteration are used only for onomastic realities. The use of descriptive translation in the translation of realities in the children’s animated series has not been identified.
Practical implications. The results of the research can be used in further study of the issue of transferring realities in the translation of children’s audiovisual products.
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Epstein, B. J. "Manipulating the Next Generation: Translating Culture for Children." Papers: Explorations into Children's Literature 20, no. 1 (January 1, 2010): 41–76. http://dx.doi.org/10.21153/pecl2010vol20no1art1150.
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Translators are interpreters of culture; they are the ones who make a source text and the culture that informs it available to a target readership, and they therefore have a certain amount of power over the readers. This is doubly the case when it comes to children's literature, as children do not always have the ability to recognise in what ways a text is being manipulated. Since adults write, edit, publish, translate, purchase, and teach literature for children, they are thus the ones who construct culture for them. The works adults choose to translate and how they do so can reveal what they think is appropriate or important for children, and why.When texts have culture-specific features, translators, whether for adults or children, have to consider the target audience. One major issue here is whether the readers will recognize or should learn about these aspects of the source culture. This is, in essence, the question of domesticating versus foreignisation, or, put another way, whether to bring the reader to the text or the text to the reader. In my studies of children's literature, I have found that translators tend to domesticate or change more than they would for adult readers, and this creates a very different, perhaps even manipulative, reading experience for the target audience. Since children's literature and its translation can be said to be a power play between adults and children (Rose 1993, p.2), the question then is: 'In what way adults (ab)use their power?'.
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Demirhan, Handegül. "Translating gender and sexuality in children’s literature: Turkey as a case study." MonTI. Monografías de Traducción e Interpretación, no. 14 (April 28, 2022): 149–79. http://dx.doi.org/10.6035/monti.2022.14.05.
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Drawing on the translations of sexuality in five Turkish translations of children’s literature, this paper starts with introducing the origins, developments, and trends of gender as well as the dilemma between gender pedagogy and taboo issues closely related to the sexuality and body politics in children’s literature and its translation in different contexts. Particularly focusing on the context of Turkey where sexuality and body politics have always been controversial issues, the paper intends to shed some light on the matter. Thus, the examination of Turkish translations of children’s literature can yield eye-opening outcomes in terms of the understanding of sexuality and the travel of sexual and body-political content from one context to another.
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Carvalho, İmren Gökce Vaz de. "Repurposed texts and translation: the case of José Saramago’s El Silencio del Agua in Turkish." Translation Matters 3, no. 1 (2021): 58–75. http://dx.doi.org/10.21747/21844585/tm3_1a4.
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: This article focuses on the Turkish translation of a picturebook by Portuguese Nobel laureate author José Saramago, first published in 2012 after the author’s death. The source text for this translation was a Spanish picturebook for children, El Silencio del Agua, created by the Barcelona-based publisher Libros del Zorro Rojo in 2011 by publishing an excerpt from the Spanish translation of Saramago’s book As Pequenas Memórias(Las Pequeñas Memorias, 2007) as an illustrated stand-alone children’s book. This represents a repurposing of the work since both As Pequenas Memóriasand Las Pequeñas Memoriastargeted an adult readership. The Turkish picturebook, translated from the “original”Spanish picturebook, was published with the same illustrations by Manuel Estrada. Meanwhile, the Portuguese work As Pequenas Memóriashad also been translated into Turkish, much before the publication of the picturebook, by another translator directly from Portuguese. Inthis study, the two Turkish translations (the Turkish picturebook and the equivalent passage from the Turkish translation of the ultimate source text) are compared to find out how repurposing a text originally written for adult readership as children’s literature influences its translation. The case of El Silencio del Aguain Turkish also raises interesting questions about how the cultural status of author and translator affects translation, as well as touching on current debates taking place in the spheres of children’s literature, retranslation, indirect translation, and reception studies.
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Naghmeh-Abbaspour, Bita. "THE IMPACT OF DOMINANT IDEOLOGY ON FRONT COVERS OF TRANSLATION OF CHILDREN’S LITERATURE IN IRAN." Humanities & Social Sciences Reviews 8, no. 3 (May 26, 2020): 480–88. http://dx.doi.org/10.18510/hssr.2020.8352.
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Purpose of the study: The present research aims to explore the impact of the dominant ideological values on the front covers (as a form of paratexts) of translations of children’s literature in Iran. Moreover, the study is going to discuss the effect of such ideological manipulation on the children’s perspective about the world as well as their own identity.
Methodology: Based on the Foucauldian sense of discourse, which considers any piece of knowledge, either textual or visual, as discourse, the study employs discourse analysis (DA) as its theoretical and analytical framework. Accordingly, the collected data of this study consist of front covers, are understood as discourse, and each one is analyzed carefully with a focus on the impact of ideological manipulation on paratextual material of Persian translations of children’s literature.
Main Finding: The findings revealed the supreme role of ideological constraints in the manipulation of front covers of translations of children’s literature in Iran.
Application of the study: The current study contributes to the existing body of knowledge on the ideological manipulation of translation of children’s literature at the paratextual level in particular.
Novelty/Originality of this study: With respect to the marginal position of translation of children’s literature in the Iranian literary polysystem, little effort has been made in this area, and ideological studies of this genre in Iran, in particular. Therefore to fill this void, the current study attempts to examine the impact of ideological constraints of Iranian society on the translation of children’s literature.
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Ramos, Ana Margarida. "An integrated approach of translation and transmediation studies in children’s literature." Dzieciństwo. Literatura i Kultura 3, no. 2 (December 31, 2021): 201–9. http://dx.doi.org/10.32798/dlk.819.
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The review article refers to the book Translating and Transmediating Children’s Literature, edited by Anna Kérchy and Björn Sundmark (2020), underlining not only the main contents of this volume, but also reflecting on its contribution to increase the research in this field. The author stresses the variety of approaches and perspectives on the subject and the relevance of the contribution from different fields of research, including literary studies, linguistics, translation, education, visual arts, and media studies.
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Kaźmierczak, Marta. "Tłumaczenie parodii – przestrzeń eksperymentu? (Tuwim, Leśmian i zaproszenie do gry)." Przekładaniec, no. 43 (December 31, 2021): 93–121. http://dx.doi.org/10.4467/16891864pc.21.031.15145.
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Translating Parody as a Domain of Experiment The author explores the possibilities of parody translation, based on a 1933 Polish literary example. Poet Julian Tuwim imitates with a vengeance the highly idiosyncratic diction of Bolesław Leśmian, including the latter’s signature trait, neologisms, while styling the piece as a supposed rewriting of a familiar children’s rhyme (folk song) about a kitten. This second hypotext is diagnosed as ancillary and it is argued that a translation of the ‘X as would have been written by Y’ parody should harness a replacement of X, functional for the target culture. As an experiment, possible substitutes are suggested for the Russian and Anglo-Saxon cultures, correspondent with the languages into which Leśmian, the parodied poet, has been quite extensively rendered. The author discusses factors conditioning the translatability of parody, including reception in the target context. The analysis closes with a call for translations. One such response to the challenge is appended.
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Ин, Ч., and Ц. Сюань. "Pedagogical forms of using linguistic features of Chinese translations of Nosov's children's literature." Management of Education, no. 1(47) (May 5, 2022): 142–55. http://dx.doi.org/10.25726/g5192-7141-9857-i.
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Носов является важным символом русской детской литературы, а количество зарубежных переводов его произведений занимает третье место в России, что является показательным представителем. В работе методом корпусного анализа от целого к части глубоко анализируются характерные черты китайского перевода детских литературных произведений Носова, выделяются закономерности, скрытые в этом языковом феномене перевода, и делаются следующие выводы: по сравнению с оргинальными произведениями китайской детской литературы, китайский перевод детских литературных произведений Носова характеризуется низкой лексической вариативностью, высокой средней длиной слова, низкой плотностью словарного запаса, высокой средней длиной сегмента и высокой частотой использования служебных слов; корпусы оригинала и перевода детской литературы Носова имеют определенное сходство в аспектах длины предложений и дисперсии сегментов; по сравнению с оригиналом творческий уровень китайского перевода ниже, который имеет тенденцию к упрощению, эксплицитности и нормализации, что в значительной степени поддерживает предложенную предшественниками переводческую общность. Отмечается, что обучение переводу детской литературы должно преподавать особенности детской литературы, основные переводческие стратегии и навыки. Подчеркнуто, что необходимо использовать новую форму преподавания перевода – перевод с помощью параллельного корпуса. Это расширяет исследовательский ракурс детской литературы, обогащает исследовательские примеры общности переводов, даёт объективные данные о языковых особенностях китайского перевода детских литературных произведений Носова и конкретный пример обучения корпусному переводу. Nosov is an important symbol of Russian children's literature, and the number of foreign translations of his works ranks third in Russia, which is an indicative representative. In the work, by the method of corpus analysis from whole to part, the characteristic features of the Chinese translation of Nosov's children's literary works are deeply analyzed, the patterns hidden in this linguistic phenomenon of translation are highlighted, and the following conclusions are drawn: compared with the orginal works of Chinese children's literature, the Chinese translation of Nosov's children's literary works is characterized by low lexical variability, high average word length, low vocabulary density, high average segment length and high frequency of use of service words; The corpora of the original and the translation of Nosov's children's literature have certain similarities in the aspects of sentence length and segment variance; compared to the original, the creative level of the Chinese translation is lower, which tends to simplify, explicitness and normalization, which largely supports the translation community proposed by the predecessors. It is noted that teaching the translation of children's literature should teach the features of children's literature, basic translation strategies and skills. It is emphasized that it is necessary to use a new form of teaching translation - translation using a parallel corpus. This expands the research perspective of children's literature, enriches research examples of the generality of translations, provides objective data on the linguistic features of the Chinese translation of Nosov's children's literary works and a concrete example of teaching corpus translation.
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Zhou, Wenjia, and Yuying Li. "On Children’s Literature Translation from the Perspective of Manipulation Theory—A Case Study of the Ren Rongrong’s Chinese Translation of Charlotte’s Web." Theory and Practice in Language Studies 9, no. 6 (June 1, 2019): 666. http://dx.doi.org/10.17507/tpls.0906.08.
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With the cultural turn in translation studies in 1970s, the focus of translation studies was gradually changed from traditional linguistics to culture. André Lefevere put forward to Manipulation Theory that has further broadened the field of translation studies. It holds that translation is not to realize the meaning equivalence between source text and target text, but to realize the compromise between the source cultural system and the target cultural system, in which the translation will be manipulated by some factors. Because Children’s Literature is classified specially, it may be influenced by different cultural system. Therefore, this paper chooses Chinese translation of Charlotte’s Web as a case study from the perspective of Manipulation Theory, which draws a conclusion that ideology, poetics and patronage have impacts on translation strategies of children’s literature, in order to facilitate new theoretical researches and improve Chinese translations of Children’s Literature.
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Pérez, Mónica Domínguez. "The Selection of Children's Books Translated from Spanish to Galician, Basque and Catalan (1940–80)." International Research in Children's Literature 2, no. 2 (December 2009): 243–58. http://dx.doi.org/10.3366/e1755619809000726.
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This study deals with children's literature translated from Castilian Spanish into Galician, Basque and Catalan by a different publisher from that of the source text, between 1940 and 1980, and with the criteria used to choose books for translation during that period. It compares the different literatures within Spain and examines the intersystemic and intercultural relations that the translations reflect. Following the polysystems theory, literature is here conceived as a network of agents of different kinds: authors, publishers, readers, and literary models. Such a network, called a polysystem, is part of a larger social, economic, and cultural network. These extra-literary considerations play an important role in determining the selection of works to be translated. The article suggests that translations can be said to establish transcultural relations, and that they demonstrate different levels of power within a specific interliterary community. It concludes that, while translations may aim to change the pre-existent relationships, frequently they just reflect the status quo.