Dissertations / Theses on the topic 'Italian drama – Translations into English'
To see the other types of publications on this topic, follow the link: Italian drama – Translations into English.
Create a spot-on reference in APA, MLA, Chicago, Harvard, and other styles
Consult the top 27 dissertations / theses for your research on the topic 'Italian drama – Translations into English.'
Next to every source in the list of references, there is an 'Add to bibliography' button. Press on it, and we will generate automatically the bibliographic reference to the chosen work in the citation style you need: APA, MLA, Harvard, Chicago, Vancouver, etc.
You can also download the full text of the academic publication as pdf and read online its abstract whenever available in the metadata.
Browse dissertations / theses on a wide variety of disciplines and organise your bibliography correctly.
1
Gargiulo, Jennifer. "Vivere sul serio: Eduardo De Filippo and the Art of Life." Thesis, The University of Sydney, 2006. http://hdl.handle.net/2123/2169.
Full textAbstract:
This thesis offers the first English translation of Eduardo De Filippo’s last play, Gli esami non finiscono mai (1973). It analyzes the play in the context of the dramatist’s career and describes the philosophical shift that took place in Eduardo’s dialectic as he progressed from a post-war, neorealist drama like Napoli milionaria! toward the existential reflections present in his last play. Unlike previous studies, this work concentrates on Eduardo’s philosophical journey from neorealism to existential query and identifies the factors that influenced his thinking process. To this end, I have evaluated the plays most relevant to the development of his philosophy and the socio-political context in which they were written. The influence of the Neapolitan traditional dialect theater, along with that of Luigi Pirandello, his American contemporaries, Arthur Miller and Eugene O’Neill, and William Shakespeare, is also examined. Important social issues that directly affected the author, such as the struggle in Italy for the legalization of divorce and the plight of children born out of wedlock, are highlighted to illustrate how they contributed to the disillusionment and pessimism present in Eduardo’s last play. From the rather hopeful ending of Napoli milionaria! Eduardo was reduced at the end of his life to sheer desperation in Gli esami non finiscono mai. Italy had changed but it had not moved on. By focusing on the playwright’s final play, this thesis offers a new perspective on a twentieth century dramatist who is much more complex than is commonly acknowledged. De Filippo is revealed as a dramatist who transcended the Neapolitan comic theatrical traditions he sprang from and created a theater of political and social engagement that endures today.
2
Gargiulo, Jennifer. "Vivere sul serio Eduardo De Filippo and the art of life /." University of Sydney, 2006. http://hdl.handle.net/2123/2169.
Full textAbstract:
Doctor of PhilosophyThis thesis offers the first English translation of Eduardo De Filippo’s last play, Gli esami non finiscono mai (1973). It analyzes the play in the context of the dramatist’s career and describes the philosophical shift that took place in Eduardo’s dialectic as he progressed from a post-war, neorealist drama like Napoli milionaria! toward the existential reflections present in his last play. Unlike previous studies, this work concentrates on Eduardo’s philosophical journey from neorealism to existential query and identifies the factors that influenced his thinking process. To this end, I have evaluated the plays most relevant to the development of his philosophy and the socio-political context in which they were written. The influence of the Neapolitan traditional dialect theater, along with that of Luigi Pirandello, his American contemporaries, Arthur Miller and Eugene O’Neill, and William Shakespeare, is also examined. Important social issues that directly affected the author, such as the struggle in Italy for the legalization of divorce and the plight of children born out of wedlock, are highlighted to illustrate how they contributed to the disillusionment and pessimism present in Eduardo’s last play. From the rather hopeful ending of Napoli milionaria! Eduardo was reduced at the end of his life to sheer desperation in Gli esami non finiscono mai. Italy had changed but it had not moved on. By focusing on the playwright’s final play, this thesis offers a new perspective on a twentieth century dramatist who is much more complex than is commonly acknowledged. De Filippo is revealed as a dramatist who transcended the Neapolitan comic theatrical traditions he sprang from and created a theater of political and social engagement that endures today.
3
Slagle, Judith Bailey. "Gothic Interactions: Italian Gothic Translations of Margaret Holford Hodson." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/3222.
Full text
4
Reid, Joshua. "Lyric Augmentation and Fragmentation of the Italian Romance Epic in English Translations." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/2861.
Full textAbstract:
The translation and transmission of the Italian romance epics of Boiardo, Ariosto, and Tasso across linguistic and cultural boundaries also included genre reprocessing. This paper traces how Elizabethan translators and compilers of these texts tended to read epic lyrically, or to read the lyric into (and out of) the epic. For Elizabethan translators of the Italian Romance Epic—Sir John Harington, Edward Fairfax, and Robert Tofte, for example—this transmutation meant amplification or insertion of lyrical material, such as Fairfax’s enhancement of the Petrarchan subtext of the Armida Blazon in Book 4 of Gerusalemme Liberata and Robert Tofte’s injection of his own Petrarchan mistress Alba into Boiardo’s Orlando Innamorato. Another trend, demonstrated by Robert Allott’s English verse anthology Englands Parnassus (1600), involved extracting lyrical fragments from the romance epic that function as stand-alone poems.
5
Sorby, Stella Lanxing. "Translating Western musicals into Chinese: texts, networks, consumers." HKBU Institutional Repository, 2014. https://repository.hkbu.edu.hk/etd_oa/113.
Full textAbstract:
When translating musicals from one culture to another, a translator’s role is to convert the text for its stage representation in a different context. However, during the process from this translated text to it finally being performed on stage, changes are inevitable. Issues surrounding the nature of such changes, the reasons for which they are made, and their resulting effects, have hitherto been little researched. The present study seeks to explore such issues through an examination of the ways in which the development of the translated text is shaped by interactions between the various stakeholders including professional translators, fans and production team members, i.e. the director and actors, as well as the audience themselves. Employing some of the major concepts of Actor Network Theory as the principal theoretical framework, together with a case study approach combining textual analysis and empirical studies, this project focuses on Putonghua translations of Western musicals on the Chinese mainland. More specifically, through investigating three of the most recent and professionally translated and performed Western musicals: I love you, you’re perfect, now change (USA), Spin (Finland), and Mamma Mia! (UK), it intends to show how differing stakeholder perspectives on issues of performability and reception are negotiated to produce a commercially successful translation product.
6
Redmond, Michael John. "The Scence lyes in Italy : representations of Italian culture in early modern English drama." Thesis, University of Sussex, 1996. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.321486.
Full text
7
Khameneh, Pour Roxana. "Active Translation into English and Italian of Hosseini's adaptation of the Persian epic,"Shahname"." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/9226/.
Full textAbstract:
This thesis proposes a translation from Persian into Italian and English of an ancient Persian epic called Shahname, or literally “The Book of Kings,” by Ferdosi, first published in the 11th century CE.
The translation proposed, however, is not based on the original book by Ferdosi, which is written all in verse, but rather, an edited, shorter, and simplified version written in prose, by Mohamad Hosseini, first published in 2013. Nonetheless, in his version, Hosseini included some of the verses from the original poems in order to show the value and the beauty of Ferdosi’s writing.
Many translations of Ferdosi’s book have been made into English, but only one translation has been made into Italian, by one Italo Pizzi, in 8 volumes, all in verse, in 1886.
This thesis analyses and discusses the choices made for the two translations presented into English and Italian.
My project is not only to propose translations of Hosseini’s version, but to also introduce the reader to the Persian culture, and to the life of the most famous Iranian epic writer, Ferdosi, and his masterpiece, Shahname.
8
Mastropierro, Lorenzo. "Corpus stylistics and translation studies : a corpus-assisted study of Joseph Conrad's 'Heart of Darkness' and its Italian translations." Thesis, University of Nottingham, 2016. http://eprints.nottingham.ac.uk/33678/.
Full textAbstract:
This thesis carries out a corpus stylistic study of Joseph Conrad’s Heart of Darkness and four of its Italian translations. It investigates the role of textual patterns as building blocks of the fictional world and triggers of literary themes. It also investigates the effects of translation on the relation between textual patterns and the fictional world, and discusses the potential consequences of translational alterations on the text’s themes. Heart of Darkness is a complex and multifaceted text that deals with a multitude of themes and has been interpreted in many different ways. By offering an overview of the text’s literary reception, I foreground two major themes that emerge from the contemporary critical debate as particularly central to the discussion about Conrad and his text: “Africa and its representation” and “race and racism”. Through a keyword analysis, I establish a connection between these themes and the lexical level of the text. Adopting Mahlberg & McIntyre’s (2011) model, I group keywords into categories that reflect specific aspects of the fictional world and the thematic concerns of the text. I then select groups of keywords that relate specifically to “Africa and its representation” and “race and racism” for more in-depth examination. Specifically, I analyse how the African jungle and the African natives are linguistically represented in the text. I demonstrate that repeated lexico-semantic patterns shape these fictional representations and play a fundamental part in the interpretation of the two themes related to them. I then focus on the Italian versions and compare them in order to show the effects of translation on the lexico-semantic patterns. I show that alterations made at the linguistic level affect the interpretational level of the translations, with potential consequences for the reception of the major themes in the target context. Finally, I use computational methods to compare the original and the translations at the level of whole texts, as opposed to feature-specific comparisons. I claim that together these two perspectives provide a more nuanced understanding of the relation between source and target texts. Through this analysis, the present thesis explores how the fictional world and literary themes are constructed and conveyed in literature and in its translation. It also contributes to the critical discussion on Heart of Darkness and proposes a methodology to analyse and compare literary translations. Finally, as an interdisciplinary project, this thesis builds on the interaction between corpus stylistics and translation studies, and strengthens this relation further.
9
Totò, Giulia. "Italian translations of English stream of consciousness : a study of selected novels by James Joyce and Virginia Woolf." Thesis, University of Edinburgh, 2014. http://hdl.handle.net/1842/16180.
Full textAbstract:
The appearance of the stream of consciousness novel in the early Twentieth century marked a revolutionary moment in the history of English-language literature. Authors such as Joyce, Woolf and Faulkner aimed at simulating through language the inner workings of the human mind which were explored by contemporary psychology and philosophy. Their experiments with linguistic and narrative possibilities make their work a stimulating subject of study, both in the original and in translation. Although stream of consciousness novels by different English-speaking authors have been examined together linguistically before (e.g. Humphrey 1954, Dahl 1970, Cohn 1978), no translation study of this kind has yet been attempted. In this thesis I examine how the main traits of the stream of consciousness genre, such as the apparent lack of narratorial control, privacy and spontaneity of the fictional discourse, are recreated in Italian. The core of this thesis is formed by a set of systematic comparative analyses of linguistic parameters which contribute to conveying these traits: punctuation, exclamatory utterances, interjections and lexical repetition. For the purpose of my investigation, I built a corpus of six English stream of consciousness passages with their nineteen Italian translations and re-translations. The source texts are drawn from Joyce’s A Portrait of the Artist as a Young Man (1916) and Ulysses (1922), and Woolf’s Mrs Dalloway (1925) and To the Lighthouse (1927); the target texts from their complete translations published from 1933 to 1995. The analysis starts from the investigation of local translational choices and proceeds to identify patterns of behaviour. This qualitative method is complemented by a quantitative examination of the frequency of particular translation solutions both within and across target texts. The series of (re)translations are also compared diachronically and related to the retranslation hypothesis, according to which later translations tend to be closer to the source text. My research also puts the stream of consciousness phenomenon into the Italian socio-cultural context by examining how it was received in Italy across the Twentieth century.
10
Della, Corte Giuseppe. "Text and Speech Alignment Methods for Speech Translation Corpora Creation : Augmenting English LibriVox Recordings with Italian Textual Translations." Thesis, Uppsala universitet, Institutionen för lingvistik och filologi, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-413064.
Full textAbstract:
The recent uprise of end-to-end speech translation models requires a new generation of parallel corpora, composed of a large amount of source language speech utterances aligned with their target language textual translations. We hereby show a pipeline and a set of methods to collect hundreds of hours of English audio-book recordings and align them with their Italian textual translations, using exclusively public domain resources gathered semi-automatically from the web. The pipeline consists in three main areas: text collection, bilingual text alignment, and forced alignment. For the text collection task, we show how to automatically find e-book titles in a target language by using machine translation, web information retrieval, and named entity recognition and translation techniques. For the bilingual text alignment task, we investigated three methods: the Gale–Church algorithm in conjunction with a small-size hand-crafted bilingual dictionary, the Gale–Church algorithm in conjunction with a bigger bilingual dictionary automatically inferred through statistical machine translation, and bilingual text alignment by computing the vector similarity of multilingual embeddings of concatenation of consecutive sentences. Our findings seem to indicate that the consecutive-sentence-embeddings similarity computation approach manages to improve the alignment of difficult sentences by indirectly performing sentence re-segmentation. For the forced alignment task, we give a theoretical overview of the preferred method depending on the properties of the text to be aligned with the audio, suggesting and using a TTS-DTW (text-to-speech and dynamic time warping) based approach in our pipeline. The result of our experiments is a publicly available multi-modal corpus composed of about 130 hours of English speech aligned with its Italian textual translation and split in 60561 triplets of English audio, English transcript, and Italian textual translation. We also post-processed the corpus so as to extract 40-MFCCs features from the audio segments and released them as a data-set.
11
Holmes, Rachel E. "Casos de honra : honouring clandestine contracts and Italian novelle in early modern English and Spanish drama." Thesis, University of St Andrews, 2014. http://hdl.handle.net/10023/6318.
Full textAbstract:
This thesis argues that the popularity of the clandestine marriage plot in English and Spanish drama following the Reformation corresponds closely to developments and emerging conflicts in European matrimonial law. My title, ‘casos de honra,' or ‘honour cases', unites law and drama in a way that captures this argument. Taken from the Spanish playwright Lope de Vega's El arte nuevo (1609), a treatise on his dramatic practice, the phrase has been understood as a description of the honour plots so common in Spanish Golden Age drama, but ‘casos' [cases] has a further, and related, legal meaning. Casos de honra are cases touching honour, whether portrayed on stage or at law, a European rather than a strictly Spanish phenomenon, and clandestine marriages are one such example. I trace the genealogy of three casos de honra from their recognisable origins in Italian novelle, through Italian, French, Spanish, and English adaptations, until their final early modern manifestations on the English and Spanish stage. Their seeming differences, and often radical divergences in plot can be explained with reference to their distinct, but related, legal concerns.
12
Giardina, 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/.
Full textAbstract:
In un contesto di lingue minoritarie, come nel caso del gaelico scozzese, la traduzione letteraria verso lingue maggioritarie può avere una natura ambivalente: se da un lato garantisce la diffusione di una letteratura altrimenti isolata, dall’altro potrebbe perpetuare degli squilibri di potere che spesso caratterizzano i rapporti tra la cultura dominante e la cultura minoritaria. Se questo è specialmente vero nella traduzione dal gaelico all’inglese, lingua la cui espansione è avvenuta a scapito della cultura gaelica, è possibile che anche nelle traduzioni italiane, prodotte generalmente tramite la versione inglese, tali squilibri vengano riconfermati. Nella presente tesi verranno analizzate le circostanze che hanno portato alla minoritizzazione del gaelico, individuando certe dinamiche riconducibili al postcolonialismo. Si commenterà il dibattito prettamente scozzese sulle più comuni pratiche di traduzione e pubblicazione utilizzate nell’editoria gaelica, adottando una prospettiva che mutua dai Minority Translation Studies, secondo cui la traduzione, se usata correttamente, può essere uno strumento capace di invertire il declino di una lingua minoritaria. Infine, si analizzeranno le risposte dei poeti gaelici e dei traduttori che ne hanno reso le opere fruibili in Italia. La ricerca svelerà che le attuali pratiche editoriali riguardanti la poesia gaelica, spesso a favore di un pubblico anglofono, non rispecchiano la diversità di posizioni degli autori intervistati, e dunque si raccomanderà l’adozione di pratiche per un panorama editoriale più rappresentativo. Lo studio mostrerà anche come, nonostante i traduttori italiani abbiano generalmente adottato strategie per compensare la scarsa conoscenza del gaelico, maggiore consapevolezza e ulteriori strategie siano necessarie affinché le pratiche traduttive e editoriali in Italia possano essere il più possibile vantaggiose alla promozione e alla rivitalizzazione della lingua, della letteratura e della cultura gaeliche.
13
Leonardi, Vanessa. "Gender and ideology in translation : do women and men translate differently? : a contrastive investigation of translations from Italian into English." Thesis, University of Leeds, 2003. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.402535.
Full text
14
Pramaggiore, Valentina <1991>. "Women’s Tragedy in the Romantic Age: Questioning English, Italian and Spanish Theatre and Drama from a Feminist Perspective." Doctoral thesis, Alma Mater Studiorum - Università di Bologna, 2020. http://amsdottorato.unibo.it/9331/1/pramaggiore_valentina_tesi.pdf.
Full textAbstract:
This thesis aims at rediscovering Romantic women playwrights in English, Italian and Spanish literature, and their tragedies, analysed through a feminist critical approach. Starting from a comparative study of the Romantic age and Romantic women’s writings, an overview of female writers’ role and contribution to the development of Romantic literature will be presented. This fundamental examination of the socio-cultural context will be followed by an in-depth analysis of the theatrical environments, deepening the issue of women’s various roles. The relationship between women playwrights and the stage will be tackled, investigating how these women managed to appropriate the “high” genre of tragedy. A focus on the changes that tragedy underwent during the Romantic age will be offered so as to explore in which ways women challenged the canons of the genre. The core of the thesis will include an overview of English, Italian and Spanish women dramatists and a brief analysis of some of their most popular tragedies. The tragedies analysed have been chosen according to themes in common, in order to demonstrate if and how these women used playwriting to address specific issues and to affirm their own agency and subjectivity. Among female playwrights’ dramatic production, three tragedies have been selected for a close reading which takes into account a variety of aspects. The three dramatists’ lives and previous literary production will also be examined in order to contextualise their tragedies and the themes they tackled. By doing so, it will be possible to highlight the reasons that led them to enter the male domains of theatre and tragedy. This analysis will be conducted through a feminist critical methodology that includes historical, literary, philosophical and political theories developed in the last decades, adjusted and contextualised so that they could be useful critical tools in the Romantic literary context.
15
Handall, Monique Elizabeth. "Translating Spanish language plays into English: A focus on the translation and production of Xavier Robles' Rojo amanecer." CSUSB ScholarWorks, 2005. https://scholarworks.lib.csusb.edu/etd-project/2958.
Full textAbstract:
The purpose of this culminating project is to start translating quality Mexican and Latin American dramatic literature in order to provide to educators and theatrical directors a fundamental collection of plays. The author worked with her San Gorgonio High School students to conduct a dramaturgical study of the setting and political background of Rojo Amanecer by Xavier Robles, a play which outlines the events leading to the 1968 student massacre at Mexico City's Plaza de Tlatelolco. The author then directed the play in her role as San Gorgonio High School's new theater teacher.
16
Wang, Hing Suen Teresa. "An ethnohistoric investigation of the operation and function of translation in the dissemination of Chinese Xiqu in the US : a study of three encounters." HKBU Institutional Repository, 2020. https://repository.hkbu.edu.hk/etd_oa/884.
Full textAbstract:
In this study, the role of translation in the introduction of Chinese xiqu into the United States is examined using an anthropological approach. This study identifies three encounters that exemplify the three critical stages of acceptance of xiqu in the United States, and examines how translation operates and functions as a tool of cultural mediation in the introduction and promotion of xiqu there. The three critical encounters this study identifies are: the 19th century performance tours of Cantonese opera in San Francisco, the 1930s tour of Mei Lan-fang to the U.S., and the 2006 tour of Kenneth Pai's production of the Young Lover's Edition of the Peony Pavilion to the U.S. An ethnohistoric approach is adopted to reconstruct the contexts of the translators' decision-making with the purpose of highlighting the human factor in the process. Translations, first-hand paratextual materials and data collected in interviews facilitate the triangulation of analysis and verification. The result offers a critical understanding of translation in a cultural dissemination process by analyzing xiqu with an emphasis on the human factor.
17
Maestri, Eliana. "A comparative analysis of women's autobiographical narratives in English and their translations in Italian and French : J. Winterson, A.S. Byatt and Jamaica Kincaid : three case studies." Thesis, University of Bath, 2011. https://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.579175.
Full textAbstract:
This thesis examines three contemporary autobiographical narratives - Jeanette Winterson's Oranges Are Not the Only Fruit (1985), A.S. Byatt's Sugar and Other Stories (1987) and Jamaica Kincaid's The Autobiography of My Mother (1996) - and their Italian and French translations. My comparative analyses of the texts are underpinned by the latest developments in Translation Studies that place emphasis on identity construction in translation and the role of translation in moulding various types of identity. They focus on how the writers' textual personae make sense of their sexual, artistic and postcolonial identities in relation to the mother and how the mother-daughter relationship survives translation into the Italian and French social, political and cultural contexts. My Introduction outlines my methodology and approach. Theo Hermans (1999) has provided me with a model capable of encompassing Descriptive Translation Studies and cultural analysis. Recent studies on the mother-daughter relationship have offered the framework of analysis of the female characters. The six chapters that follow show how each Target Text activates different cultural, literary, linguistic and rhetorical frames of reference which bring into relief the facets of the protagonist's quest for identity that might be hidden or ambiguous in the Source Text: religious icons and the cult of the Madonna; humour and irony; gender and class; mimesis and storytelling; spatial representations and geographical sense of self; narrative performance and performativity; negativity and women's strength. Whereas the French translation of Oranges highlights the interplay of gender and class, the Italian version brings into focus the religious and political constraints on the protagonist's quest. The Italian and French translations of 'Sugar' emphasize Byatt's fictional explorations of the maternal artistic model. The French version of Autobiography normalizes orality and performativity; the Italian one enhances complex aspects of negativity. This thesis highlights the fruitfulness of studying women's narratives and their translations and the polyphonic dialogue between the translations and the literary and theoretical productions of the French and Italian cultures.
18
Montanari, Anna Maria. "'A heart in Egypt' : Cleopatra on the Renaissance stage in Italy and England." Thesis, University of Cambridge, 2015. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.709112.
Full text
19
Reel, Irem Secil. "Translation/Adaptation, Direction and Production of Ambling Riders, a Turkish Play by Özen Yula." Fogler Library, University of Maine, 2010. http://www.library.umaine.edu/theses/pdf/ReelIS2010.pdf.
Full text
20
Williams, Katherine J. "Translating Brecht : versions of "Mutter Courage und ihre Kinder" for the British stage." Thesis, St Andrews, 2009. http://hdl.handle.net/10023/761.
Full text
21
Andrew, Michael Guy. "After ... life in creative translation : a critical study of modern English poetic translations from selected Greek, Latin, and Italian poets." Thesis, 2012. http://hdl.handle.net/10539/11716.
Full textAbstract:
Ph.D. University of the Witwatersrand, Faculty of Humanities, 2012The scope of the research is indicated by the sub-title, “A Critical Study of Modern English Poetic Translations from Selected Greek, Latin, and Italian Poets”: the poets selected are Homer, Catullus, Horace, Ovid, and Dante, and the translations are by a range of modern English poet-translators. After an opening chapter that is mainly theoretical, the study offers detailed critical analyses of the original poems or extracts and also of the translations into modern English poetry, to investigate whether the modern English poetic translations confirm the validity of Middleton’s claim, “how centrally the art of translation has mattered in the history of English poetry” (Christopher Middleton in “The Presence of Translation: A View of English Poetry” in The Art of Translation: Voices from the Field, edited by Rosanna Warren (Boston: Northeastern University Press, 1989), p. 258). The analysis assesses the achievement of twentieth-century English poettranslators in their translations of the selected Greek, Latin, and Italian extracts or poems and demonstrates that poetic translations have become a peculiarly sensitive form of literary criticism as well as creative works of art in their own right. The research concludes by formulating some critical categories of and criteria for creative translation that will assist in the practice of poetic translation and in the critical examination of poetic translations.
22
Hudson, Joanna L. "Albert Camus' Les justes: a descriptive approach to the analysis of a drama text in translation." Thesis, 2015. http://hdl.handle.net/10539/16904.
Full text
23
"A study of Cantonese translation of play titles, character names, songs, settings and puns in six Shakespeare's comedies." Chinese University of Hong Kong, 1996. http://library.cuhk.edu.hk/record=b5888989.
Full textAbstract:
Grace Chor Yi Wong.Publication date from spine.
Thesis (M.Phil.)--Chinese University of Hong Kong, 1995.
Includes bibliographical references (leaves [131]-139).
Acknowledgments --- p.i
Abstract --- p.ii
Chapter Chapter 1. --- Introduction --- p.1
Chapter 1.0 --- Background --- p.1
Chapter 1.1 --- Scope of Study --- p.2
Chapter 1.2 --- Translation vs. Adaptation --- p.5
Chapter 1.3 --- Translating for the Stage --- p.7
Chapter Chapter 2. --- Translation of Titles --- p.11
Chapter 2.0 --- Introduction --- p.11
Chapter 2.1 --- Classification of Titles --- p.12
Chapter 2.2 --- Translation of Titles of Six Shakespeare's Comedies --- p.17
Chapter 2.3 --- Conclusion --- p.27
Chapter Chapter 3. --- Translation of Names of Characters --- p.29
Chapter 3.0 --- Introduction --- p.29
Chapter 3.1 --- Various Strategies at Work --- p.31
Chapter 3.2 --- Names for Stage Performance --- p.37
Chapter 3.3 --- Translation of Names of Characters in Six Comedies --- p.41
Chapter 3.4 --- Conclusion --- p.51
Chapter Chapter 4. --- Translation of Songs --- p.53
Chapter 4.0 --- Songs as a dramatic Device in Shakespeare's Comedies --- p.53
Chapter 4.1 --- The Translation of Songs in Five Comedies --- p.56
Chapter 4.1.1 --- The Two Gentlemen of Verona --- p.57
Chapter 4.1.2 --- A Midsummer Night's Dream --- p.60
Chapter 4.1.3 --- As You Like It --- p.68
Chapter 4.1.4 --- Twelfth Night --- p.78
Chapter 4.1.5 --- The Tempest --- p.89
Chapter 4.2 --- Conclusion --- p.97
Chapter Chapter 5. --- Settings of the Six Comedies --- p.99
Chapter 5.0 --- Introduction --- p.99
Chapter 5.1 --- Settings and the Translation of Titles --- p.101
Chapter 5.2 --- Settings and the Translation of Character Names --- p.104
Chapter 5.3 --- Settings and the Translation of Songs --- p.105
Chapter 5.4 --- Conclusion --- p.108
Chapter Chapter 6. --- Translation of Puns --- p.109
Chapter 6.0 --- Introduction --- p.109
Chapter 6.1 --- Translation of Puns in Six Comedies --- p.111
Chapter 6.2 --- Conclusion --- p.124
Chapter Chapter 7. --- Conclusion --- p.127
Bibliography --- p.131
24
Ladouceur, Louise. "Separate stages : la traduction du theatre dans le contexte Canada/Quebec." Thesis, 1997. http://hdl.handle.net/2429/6717.
Full textAbstract:
L'etude suivante porte sur la traduction du theatre dans le
contexte Canada/Quebec, de 1951 a 1994, et suit une methodologie
empruntee a l'Ecole de Tel-Aviv et a l a «critique productive»
d'Antoine Berman. Apres un survol des discours portant sur les
litteratures et les dramaturgies canadienne et quebecoise en
traduction, une analyse des douze pieces inscrites au corpus
permet d ' identifier la fonction attribuee au traduit dans le
contexte recepteur.
De la fin des annees 60 jusqu'au milieu des annees 80, les
dramaturgies franco-quebecoise et canadienne-anglaise sont
marquees par la question identitaire . La traduction repond alors
a un desir de creer un repertoire national, specifiquement
quebecois d'une part et specifiquement canadien de l'autre.
Cette specificite repose sur la mise en valeur de la difference,
ressentie comme essentielle a L'elaboration d'une identite
nationale distincte. Commune a chaque groupe linguistique, cette
mise en valeur de la difference fait toutefois appel a des
procedes fort divergents. D'un cote, la traduction franco-quebecoise
met l'accent sur sa propre difference, au moyen
d'adaptations qui prennent l'apparence d'un produit local et
masquent l'origine du texte canadien-anglais. De l'autre, la
traduction canadienne-anglaise souligne l ' alterite du texte
quebecois en insistant sur son caractere non menacant et evite la
cruciale question de la representation anglaise du joual, langue
emblematique du nouveau theatre quebecois.
A la fin des annees 80, les deux groupes linguistiques
rorapent avec ce modele et affichent de nouvelles tendances. Au
Quebec, ou le theatre canadien-anglais connait une popularity
grandissante depuis 1990, l'obligation speculaire cede le pas au
spectaculaire oblige et a la theatralite provocante qui servent a
legitimer l'emprunt anglo-canadien. De son cote, la traduction
anglaise du texte quebecois n'est plus confronted au joual mais
au probleme que pose l'esthetique verbale hautement stylisee des
pieces franco-quebecoises plus recentes. La traduction doit
alors attenuer une exuberance langagiere qui heurte les normes en
vigueur dans la dramaturgie canadienne-anglaise.
La forte polarisation observee dans les strategies de
traduction deployees de part et d'autre reflete l'asymetrie des
positions occupees par les dramaturgies produites dans les
langues officielles du Canada, ou l'anglais constitue la langue
de la majorite et ou le francais demeure minoritaire.
25
Suh, Joseph Che. "A study of translation strategies in Guillaume Oyono Mbia's plays." Thesis, 2005. http://hdl.handle.net/10500/1687.
Full textAbstract:
This thesis is focused on a study of translation strategies in Guillaume Oyono Mbia's plays. By using the sociological, formalistic and semiotic approaches to literary criticism to inform the analysis of the source texts and by applying descriptive models outlined within the framework of descriptive translation studies (DTS) to compare the source and target texts, the study establishes the fact that in his target texts Oyono Mbia, self-translating author, has produced a realistic and convincing portrait of his native Bulu culture and society depicted in his source texts by adopting the same default preservation and foreignizing strategy employed in his source texts. Oyono Mbia's works, his translation strategies and translational behaviour are situated in the context of the prevailing trend and attitude (from the sixties to date) of African writers writing in European languages and it is posited that this category of writers are in effect creative translators and that the strategies they use in their original compositions are the same as those outlined by translation scholars or effectively used by practitioners. These strategies enable the writer and the translator of this category of African literature to preserve the "Africanness" which is the essence and main distinguishing feature of that literature. Contrary to some scholars (cf. Bandia 1993:58) who regard the translation phenomenon evident in the creative writings of African writers writing in European languages as a process which is covert, semantic and secondary, the present study of Oyono Mbia's translation strategies clearly reveals the process as overt, communicative and primary. Taking Oyono Mbia's strategies as a case in point, this study postulates that since for the most part, the African writer writing in a European language has captured the African content and form in his original creative translation, what the translator simply needs to do is to carry over such content and form to the other European language.Linguistics
D.Litt. et Phil. (Linguistics)
26
Kruger, Alet. "Lexical cohesion register variation in transition : "The merchants of Venice" in afrikaans." Thesis, 2000. http://hdl.handle.net/10500/2988.
Full textAbstract:
On the assumption that different registers of translated drama have different functions and that
they therefore present information differently, the aim of the present study is to identify textual
features that distinguish an Afrikaans stage translation from a page translation of Shakespeare's
The Merchant of Venice. The first issue addressed concerns the nature and extent of lexical
cohesion in these two registers. The second issue concerns my contention that the dialogue of a
stage translation is more "involved". (Biber 1988) than that of a page translation. The research was
conducted within the overall Descriptive Translation Studies (DTS) paradigm but the analytical
frameworks by means of which these aims were accomplished were derived from text linguistics
and register variation studies, making this an interdisciplinary study. Aspects of Hoey's ( 1991)
bonding model, in particular, the classification of repetition links, were adapted so as to quantify
lexical cohesion in the translations. Similarly, aspects of Biber's (1988) multi-dimensional
approach to register variation were used to quantify linguistic features that signal involvement.
The main finding of the study is that drama translation register (page or stage translation) does
have a constraining effect on lexical cohesion and involved production. For Act IV of the play an
overall higher density of lexical cohesion strategies was generated by the stage translation. In the
case of the involved production features analysed, the overall finding was that the stage translation
displayed more involvement than the page translation, to a statistically highly significant extent.
The features analysed here cluster together sufficiently to reveal that in comparison with an
Afrikaans page translation of a Shakespeare play, a recent stage translation displays a definite
tendency towards a more oral, more involved and more situated style, reflecting no doubt a
general modern trend towards creating more appropriate and accessible textsLinguistics
D. Litt. et Phil. (Translation Studies)
27
Ndove, Mkhancane Daniel. "Semiotics as a medium to convey the philosophy and psychology of evil in the Xitsonga translation of Macbeth." Thesis, 2005. http://hdl.handle.net/10500/2508.
Full textAbstract:
This thesis publicly displays the veracity of witchcraft and superstitious fables, which, many people believe to be irrational in nature. In this analysis, semiotics has been paraded in various versions from chapter to chapter-in order to illustrate the miscellaneous interpretations. The backbone of the investigation focuses on the philosophy and psychology of evil, a theoretical belief that is laid down by practical paradigms at the edge of each chapter.
The point of departure of this investigation emanates from the Shakespearean literary work, Macbeth, which is popularly known for its inclusion of the witches in its illustration of the Scottish kingship. Therefore this thesis has adopted the practices of the witches and from there came out with what is commonly practiced by the Vatsonga people. Scotland, England, Germany and France of the 15th and 16th centuries were the countries best known as the most uncouthed centres for witchcraft and superstitions. Therefore leading stories from these European countries have made this project feasible.
The study has leaked many of the unfounded stories about witchcraft and superstitions that were thought of as extraordinarily great but made real in this work. It has gone as far as windswept the kingship rites, coronation, the powers of the divine bones upon the anointed king, ritual ceremonies, causes of prosperity and failure, tales about stars, ghosts, reptiles, zombies and those hideous deeds that are not socially acceptable such as digging up of children's graves, convulsions, calling for rain, punishment meted out for a witch, prevention of adultery, changing oneself to a crocodile, rat, snake and many more stories.African Languages
D. Litt. et Phil. (African Languages)