Dissertations / Theses on the topic 'Korean fiction – Translations into English'

This research examines the translational issues arising from conveying implicit features of Korean literary source text in the English target language (hereafter referred to as 'TL') by consulting Korean scholarship, and it subsequently attempts to account for problematic issues within a relevance-theoretic framework. Its ultimate aim is to seek effective ways to represent the literary devices of the Korean source text, with a particular focus on implicitly conveyed textual content and form, such as implicature, which can be understood as "a component of speaker meaning that constitutes an aspect of what is meant in a speaker's utterance without being part of what is said" (Horn, 2006, p. 3). This investigation is intended to produce findings that can contribute to developing a methodology for analysing translation. The thesis asserts that the value of a pragmatic perspective is crucial to analysing culturally-tied features which are used as literary devices, including such tropes as irony and metaphor found in Korean literature (i.e., modern fiction). It entails an examination of particular linguistic features used as implicatures, particularly those expressions that are at risk of cultural misunderstanding by mistranslations between the Korean and English languages. The primary sources for this analytic work derive from Korean experts on translation evaluation; in addition, further analyses are conducted on a set of translations of Korean texts, albeit all segments. Some of their analytic approaches indicated shortfalls and the need to account for their assessments. In turn, this paper re-examines the issues they raise by focusing on the disparity in language use and its effect on implicatures between the Korean source and English target languages. The expectation was that the problematic translational behaviour with regard to implicatures could be explained and redressed. As it turns out, insights from relevance theory (Gutt, 2000; Sperber & Wilson, 1986), derived from Grice's (1967, 1975) work on language and communication, can prove to be beneficial in redressing translational issues arising from culturally dissimilar use of implicature.

In the light of frame semantics, a linguistic sign is understood in terms of frame, which is a structured background of knowledge and experiences. Meanings are thus relativized to frames. With a holistic consideration of interrelated elements such as prototype, context, schema and semantic memory, this meaning theory provides a promising starting point for an integrative theory of translation. Adopting a frame semantic approach, the thesis looks into the mechanism of the translator’s decision-making on meaning transfer in fictional translation. It proposes that a translator’s decisions are generally controlled by the “Proper Scene Principle”, which requires that the translator should ensure that the target reader can generally gain access through the target text (TT) to proper scenes to construct a coherent text world comparable to the one underlying the source text (ST). The principle consists of two maxims, i.e. the Maxim of Relevance and the Maxim of Coherence, of which the former is concerned with the relationship between a ST scene and a TT scene, and the latter, the integrity of the network of scenes evoked by the TT. To test the validity of the Proper Scene Principle, a detailed model of text comprehension is delineated, which specifies the progressive path of comprehension from individual semantic structures to a holistic text world, taking into account such factors as the framing pattern, framing criteria, highlighted and basic frame features, perspective, scene extension and scene-scene relations. Authentic data taken from Eileen Chang’s conventional translation and self-translation are carefully categorized and discussed within the framework of this model. As evidenced by ample exemplifications, the frame/scene notion and the prototypical approach to the ST-TT relation are of both explanatory strength and problem-solving advantages for fictional translation. The proposed principle is proved to be effective, which may well serve as a diagnostic tool for translation problems, a yardstick for translation quality and a reference point for the translator’s obligation and freedom. As a whole, being a comprehensive investigation that concerns both theory and practice, the thesis attempts to shed some new light on certain basic issues of translation studies and it is of particular relevance to the practice of literary translation. The concepts and methods developed in the thesis might also contribute to the progress of frame semantic theory.
published_or_final_version
Chinese
Doctoral
Doctor of Philosophy

本論文從互文性視角研究《狼圖騰》和《塵埃落定》的英譯，通過建立文本內部的話語與文本外部的話語之間的互文聯繫，分析源文內部的話語與源語系統中相關話語的互文性，及英譯內部的話語與目標語系統中相關話語的互文性，進而闡釋源文的文本意義和英譯的文本意義。 全文共分四章。第一章為緒論，介紹本文的選題背景、研究範圍與研究問題、研究方法、文獻綜述、理論框架和章節佈局。第二章是對《狼圖騰》及其英譯Wolf Totem作文本分析。本章通過分析在源文和英譯中圍繞蒙古族草原生態觀而展開對話的四類話語，建立每一類話語在源語系統和目標語系統中的互文聯繫，發現《狼圖騰》的文本意義是強調借蒙古文化的元素使中國變強大的話語，而其英譯Wolf Totem則重在彰顯內蒙古的蒙古文化，弱化了中國崛起的話語。第三章是對《塵埃落定》及其英譯Red Poppies作文本分析。本章通過分析在源文和英譯中圍繞嘉絨族群身份認同而展開對話的五類話語，建立每一類話語在源語系統和目標語系統中的互文聯繫，進而發現《塵埃落定》的文本意義是借追尋族群身份來彰顯嘉絨藏族的主體性。其英譯Red Poppies文本產生的意義則不在於尋找嘉絨族群身份，而是更突出了這一文本與英語世界裡西藏觀的既有話語的互動。第四章為結語部分，總結本論文的研究成果，對本論文運用的理論和方法進行批判性反思，最後是對後續研究的方向作出展望。 This thesis provides an analysis from an intertextual perspective of English translations of Lang Tuteng and Chen Ai Luo Ding, two Chinese novels set in China’s ethnic minority regions published since the 1990s. It is argued that these Chinese novels derive their meaning from a dialogue with various discourses circulating around them, and that English translations of these novels derive their meaning from a dialogue with various discourses circulating around the translations and their source texts. This thesis is organized into four chapters. Chapter One details the research background, delineates the scope of study, sets out the research questions, specifies methodology and theoretical framework for analysis, and provides a review of the literature. Chapter Two provides a detailed analysis from an intertextual perspective of Lang Tuteng and its English translation Wolf Totem. Four discourses concerning the characters’ attitudes towards the Mongolian ecology are identified in Lang Tuteng. A comparative analysis of the source and target texts shows that, whereas the source text privileges the discourse of ‘strengthening China through learning from the Mongolian culture’, the target text puts the emphasis on the Mongolian culture itself, and that the concern with China’s nation building is much less pronounced in the target text than in the source text. Chapter Three provides a detailed analysis of Chen Ai Luo Ding and its English translation Red Poppies. Five discourses concerning the identity of the Jiarong people in relation to China and the Tibetan region are identified in Chen Ai Luo Ding. A comparative analysis of the source and target texts shows that, whereas the source text highlights the issues of identity concerning the Jiarong people, the target text engages effectively in dialogue with existing discourses concerning the Tibetan region in the target language culture. The Chinese novel and its English translation acquire additional layers of meaning when their intertextual relations are teased out and read in their respective cultural contexts. Chapter Four provides a summary of the findings of the thesis, paying special attention to the connections and differences between the two case studies. Both novels are set in ethnic minority regions in mainland China, depict cultures of ethnic minority groups, and discuss the relationship between the ethnic minorities and the majority Han people in mainland China. Lang Tuteng adopts the perspective of the Han Chinese, positions the Mongolian culture as the other, and emphasizes the importance of learning from the other; however, Wolf Totem stresses the marginalization of the Mongolian culture, rather than issuing an appeal for the Han Chinese to enrich their culture and contribute to the rise of the Chinese nation. Chen Ai Luo Ding adopts the perspective of the Jiarong people, positions foreign cultures as the other, and highlights the narrator’s quest for an identity of the Jiarong people. A comparative analysis of the Chinese novel and its English translation shows the ways in which Red Poppies adheres to the discourses in the source text and enters into dialogue with dominant discourses on the Tibetan region in the target language culture. Chapter Four also includes theoretical reflection on the methodology and theoretical framework of this thesis, and suggests possible avenues for future research.

The Central African Republic is a small country located in the center of Africa. It is a very young nation in terms of political independence, but as the CAR emerges as a nation, it has begun to produce valuable authors who write for the French speaking world. This thesis is an attempt to bring part of the CAR's literature to the United States.Le Silence de la Foret was written by Etienne Goyemide and not only describes the culture of the mainstream population of the CAR, but also that of Pygmies. Although the book is a novel, the cultural aspects are not fictitious. This thesis is a translation of Goyemide's novel into English so that it can be made accessible to the English speaking world.The process of translating such a literary work required and increased knowledge and understanding of both French and English. In attempting to capture the style and tone of the author, careful attention was given to such aspects as tense, syntactic structures, register and vocabulary. A chapter of the thesis is devoted to describing the problems encountered during translation and the reasoning for the translations chosen.
Department of English

The idea behind this research is motivated primarily by pronouncements made by (co)producers of English translations of modern Arabic fiction concerning the untranslatability of ‘Arabic’ and its status as a ‘controversial’ language, which presents a ‘hurdle’ in the way of the cultural and literary transfer of modern Arabic works of fiction to English. Is it the Arabic language alone that conditions or circumscribes the translation activity of modern Arabic fiction into English, or are there other socio-cultural and historico-political factors that influence the volume of such activity? In an attempt to answer questions such as the above and to understand and evaluate the extent to which such polemic comments are true, this thesis traces the socio-historical trajectory of the field of modern Arabic fiction into English throughout its phases of development. It sets out to identify and investigate the determinants that condition or circumscribe the translation of modern Arabic fiction into English. Drawing on Pierre Bourdieu’s theory of social practice and its heuristic concepts, to include field, capital, homology and (dis)position, the English translation activity of modern Arabic fiction is examined as a socially constructed and constructing practice and the related individuals and institutions are investigated as socially regulated and regulating agents. The study’s aim is to analyse and interpret the diverse range of practices in this field of cultural production. To guide the analysis of this thesis, English translations of modern Arabic fiction, published between 1908 and 2014, are compiled and analysed both statistically and sociologically. They are combined with historical and archival materials, including several exchanges between various translatorial agents that have not been previously examined. Various factors informing, conforming and/or transforming the field of modern Arabic fiction in English translation are identified and analysed, with specific attention to their impact on the field’s structure and the positions available in it, the capital at stake, the agents involved, the dynamics of production and the volume of activity within the field. In the process of mapping out the field of modern Arabic fiction in English translation, the thesis redraws the boundaries of the field and suggests alternative dates to, as well as a different structure from, the phases identified by Altoma (2005). It also investigates several socio-cultural and historico-political factors that are not mentioned in Khalifa and Elgindy (2014) or other related studies. The retranslations of Naguib Mahfouz’s most controversial novel, ‘Awlād Ḥāratinā, are thoroughly examined as a case study in order to provide further insights into how socio-cultural and historico-political forces function in concert within the field of modern Arabic fiction in English translation. Particular focus is given to how these forces impact the field and its activities—fostering or subverting its outlook—and how they mediate the relationships between its agents and other intersecting fields. Through an in-depth analysis of paratextual elements, the thesis illuminates how (re)translations can be used as a tool to claim distinction in the field of translation and exposes the struggle between its agents. The findings have implications for the fields of translation studies in general, and modern Arabic literature/fiction translation and its publishing trends in particular. They demonstrate that a progression in the production and publishing of translations has taken place since 1908. This is in opposition to the prevailing belief that the flow of English translations of modern Arabic works of fiction has been primarily hindered by the Arabic language. However, there have been fluctuations in the velocity and volume of the translation flow. These fluctuations correspond to various internal and external socio-cultural and historico-political forces that affected the translation production and consumption and, consequently, the structure of the field and its agents’ practices. The evidence presented suggests that, instead of focusing on the literary value of a work, several modern Arabic works of fiction were translated because of their sociological/anthropological significance. This mediated and framed, to a great extent, the way the Arab world was perceived by and promoted in the Anglophone world. Given this finding, translations of modern Arabic fiction should always be perceived within, and not in isolation from, the larger context of their production, circulation and reception, especially in the case of English translations.

The detective fiction (tantei shōsetsu) genre is one that came into Japan from the West around the time of the Meiji Restoration (1868), and soon became wildly popular. Again in recent years, detective fiction has experienced a popularity boom in Japan, and there has been an outpouring of new detective fiction books as well as various television and movie adaptations. It is not a revelation that the Japanese detective fiction genre, while rife with imitation and homage to Western works, took a dramatic turn somewhere along the line, away from celebrated models like Poe, Doyle, and Christie, and developed into a unique subgenre of Japanese prose. However, despite its popularity and innovation, Japanese detective fiction has often been categorized as popular literature (taishū bungaku), which is historically disregarded as vulgar and common. My thesis first consists of a brief introductory history oftantei shōsetsugenre in Japan. This includes a discussion of Japanese writers' anxiety concerning imitation of Western forms and their perception of themselves as imposters and imitators. Following this, I examine the ways in whichtantei shōsetsuwriters--particularly Edogawa Ranpo (1894 - 1965), the grandfather of the genre in Japan--began to deviate from the Western model in the 1920's. At the same time, I investigate the bias againsttantei shōsetsuas a vulgar or even pornographic genre. Through a discussion of literary critic Karatani Kōjin's ideas on the construction of depth in literature, I will demonstrate how Edogawa created, through his deviance from the West, a new kind of construction in detective fiction to bring a different sort of depth to what was generally considered merely a popular and shallow genre. This discussion includes a look at the ideas of Tsubouchi Shōyō on writing modern novels, and Japanese conceptions of "pure" (junsui) and "popular" (taishū) literature. Through an examination of several of Edogawa's works and his use of psychology in creating interiority in his characters, I propose that the depth configuration, put forth by Karatani in his critique of canonical modern Japanese literature, is also present in popular fiction, like Edogawa'stantei shōsetsu. When viewed through the lens of Karatani's depth paradigm, we discover how detective fiction and the vulgarity therein may actually have more in common with "pure" fiction created by those writers who followed Shōyō's prescriptions. In the final section of the introduction, I propose a definition of Japanese detective fiction that links Edogawa's works from the 1920's to the contemporary Japanese detective novel After-Dinner Mysteries (Nazotoki wa dinaa no ato de, 2010), by Higashigawa Tokuya. Thus we see that many of the themes and conventions present in Edogawa remain prevalent in contemporary writing. Finally, I present my translation of the first two chapters of After-Dinner Mysteries.

Fragments of the Moon is a novel set mostly in South Korea, examining relationships between people, interpersonal spaces, architectural spaces and landscape through a cross-cultural context. Matt, a graduate architect from Perth, Australia, finds himself increasingly vulnerable to cultural confusion as he adjusts to life away from his home and friends. Having initially assumed that Seoul's western facade echoes its social dynamic, Matt increasingly discovers that the Confucianism which underpins much of contemporary Korean society makes all relationships far more complex than his assumptions had allowed. Together with a Canadian student who is seeking to find the essence of a different Korea through her investigation of Buddhism, and through meeting diverse Korean characters, readers will discover several of the many facets of contemporary Korean culture. Readers will be encouraged to test the slippery surfaces on which familiar and unfamiliar attitudes to bodies, landscape and created spaces rest. 'Body, Space, Ideas of Home: Cross-cultural Perspectives' (thesis) The thesis examines the interaction of body space, architectural space, landscape, and emotional states in contemporary literary fiction from several cultural perspectives. Bodies, landscapes, and architectural spaces are shown to be devices through which contemporary authors with different cultural backgrounds have expressed character and explored ideas, especially thematic concerns related to cultural or cross-cultural confusion or understanding. Notions of 'feeling at home' and 'being alien' are investigated through the work of authors who either have a cross-cultural heritage (e.g. Jhumpa Lahiri a Bengali/American), or who write about a culture which is not their own (e.g. Dianne Highbridge, an Australian writing about Japan). Several chosen authors explore the relationships between the spiritual and the physical, the metaphysical and the corporeal. These elements are particularly highlighted when examining the narratives of Tim Winton (The Riders, 1994) and Simone Lazaroo (The World Waiting To Be Made, 1994); and two of Japan's most popular writers, Haruki Murakami (Norwegian Wood, 2000) and Banana Yoshimoto (Lizard, 1995). For some writers, this exploration of spaces forms the focal point of their work; for others, it is an important facet of their narrative world, which helps to ground their writing for contemporary readers whose own backgrounds must also influence their understandings.

By conducting case studies in which representative works of Chinese and English feminist writing, together with their translations, are carefully analyzed, the third and fourth chapters examine the trajectory of the female power's traveling from the source text to the target text. The C-E section discusses a novel (written by the Chinese feminist writer Hong Ying) and its English translations by Howard Goldblatt (complete translation) and Mu Lei (partial translation); the E-C section deals with the independent story extracted from Doris Lessing's The Golden Notebook and its three Chinese versions by one female and two male translators respectively. In both sections, the writers' feminist thoughts that embrace female power are specifically analyzed. In the study, it is found that male and female translations differ from each other, thus offering quite different pictures of the female power expressed by feminist writers and altering the reading experience.
The current thesis, standing astride Translation and Gender Studies, has taken an interdisciplinary perspective to study the translations of contemporary feminist fiction. It is hoped that this study can offer some insights into the intersection between language and gender issues in translation and contribute to the development of the research domain of gender and translation.
The fifth chapter elaborates on how the translators' interpretation and translation might affect in the target text the feminist writers' expression of power, and discusses the translator's gender as an important variable that might affect the translation of feminist literary writings. In the last chapter, conclusions about and reflections on the current study are presented, followed by some suggestions for future research.
The thesis is divided into six chapters. The first chapter introduces the research background and reviews previous studies examining translation using gender perspectives. The second chapter offers a theoretical framework for the current study. Taking Foucault's theory of power/discourse as a starting point, it demonstrates the relationship between power and discourse (feminist writing and translations), and argues 1) that feminist writing proclaims female power; 2) that translation can, on the one hand, transmit and strengthen that power and, on the other hand, weaken that power by toning down the feminist consciousness inherent in the original text; and 3) that translation is actually an 'intermediary station' where power is negotiated and discourse (re)constructed.
This thesis looks, from a gender perspective, into the translation of contemporary feminist fiction from Chinese to English and vice versa. In the thesis, the relationship among three interrelated domains, namely, gender, translation and power, is carefully examined. The role played by male as opposed to female translators in translating contemporary feminist fiction is further discussed by conducting case studies to investigate multiple translations of two pieces of feminist writing.
劉劍雯.
Advisers: Wong Kwok Pun; Tung Yuan Fang.
Source: Dissertation Abstracts International, Volume: 73-01, Section: A, page: .
Thesis (Ph.D.)--Chinese University of Hong Kong, 2010.
Includes bibliographical references (p. 217-238).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [201-] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstracts in Chinese and English.
Liu Jianwen.

周晶.
"2011年9月".
"2011 nian 9 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2011.
Includes bibliographical references (leaves 197-214).
Abstract and table of contents in Chinese and English.
Zhou Jing.
中文摘要 --- p.i
英文摘要 --- p.ii
前言 --- p.iii
目錄 --- p.iv
圖表目錄 --- p.vii
Chapter 第一章 --- 緖論 --- p.1
Chapter 1.1 --- 研究目的 --- p.1
Chapter 1.2 --- 文本界定 --- p.5
Chapter 1.3 --- 研究方法 --- p.6
Chapter 第二章 --- 原文背景和基本内容的考量 --- p.9
Chapter 2.1 --- 原文作者和她的《喜福會》 --- p.9
Chapter 2.2 --- 原文的文學主旨 --- p.12
Chapter 2.2.1 --- 母女關係 --- p.15
Chapter 2.2.2 --- 移民種族身份 --- p.17
Chapter 2.2.3 --- 文化衝突 --- p.20
Chapter 2.3 --- 原文中表述的中西方文化概念 --- p.22
Chapter 2.4 --- 小結 --- p.28
Chapter 第三章 --- 《喜福會》的中譯本及相關研究 --- p.29
Chapter 3.1 --- 《喜福會》的多重中譯本 --- p.29
Chapter 3.2 --- 翻譯中的“本土化´ح和“外族化´ح現象 --- p.34
Chapter 3.3 --- "Venuti (1995/2008, 1998 a-c)的理論" --- p.39
Chapter 3.3.1 --- Venuti承上啟下的角色 --- p.40
Chapter 3.3.2 --- 造成“本土化´ح與“外族化´ح現象的原因 --- p.45
Chapter 3.4 --- 小結 --- p.48
Chapter 第四章 --- 文本描寫的理論框架 --- p.49
Chapter 4.1 --- 基本原則 --- p.49
Chapter 4.2 --- 原文的描寫規範 --- p.53
Chapter 4.2.1 --- 界定文學主旨 --- p.53
Chapter 4.2.1.1 --- 母女關係 --- p.53
Chapter 4.2.1.2 --- 移民種族身份 --- p.56
Chapter 4.2.1.3 --- 文化衝突 --- p.59
Chapter 4.2.1.4 --- 小結 --- p.62
Chapter 4. 2. 2 --- 界定本源文化概念 --- p.63
Chapter 4.3 --- 譯文的描寫規範 --- p.67
Chapter 4.3.1 --- 翻譯策略的兩種含義 --- p.69
Chapter 4.3.2 --- “本土化´ح或“外族化´ح的翻譯策略 --- p.76
Chapter 4.3.2.1 --- 現有的研究 --- p.77
Chapter 4.3.2.2 --- 本研究的描寫規範 --- p.85
Chapter 4.4 --- 結語 --- p.95
Chapter 第五章 --- 對應文本的例子分析 --- p.97
Chapter 5.1 --- 文學主旨的例子 --- p.97
Chapter 5.1.1 --- 母女關係 --- p.98
Chapter 5.1.2 --- 移民種族身份 --- p.108
Chapter 5.1.3 --- 文化衝突 --- p.115
Chapter 5.2 --- 本源文化概念的例子 --- p.121
Chapter 5.2.1 --- 源語文化概念 --- p.121
Chapter 5.2.2 --- 譯語文化概念 --- p.125
Chapter 5.3 --- 結語 --- p.129
Chapter 第六章 --- 語料庫及描寫數據 --- p.130
Chapter 6.1 --- 雙語平行文本語料庫 --- p.130
Chapter 6.2 --- 有關翻譯策略分佈比率的說明 --- p.138
Chapter 6.3 --- 翻譯策略在個別譯本中分佈 --- p.141
Chapter 6.3.1 --- 于譯本 --- p.141
Chapter 6.3.2 --- 田譯本 --- p.144
Chapter 6.3.3 --- 吳譯本 --- p.147
Chapter 6.3.4 --- 程譯本…… --- p.150
Chapter 6.3.5 --- 多重譯本的比較 --- p.153
Chapter 6.4 --- 翻譯策略在四個譯本中的整體分佈 --- p.158
Chapter 6.5 --- 誤差測定 --- p.161
Chapter 6.6 --- 結語 --- p.164
Chapter 第七章 --- 從翻譯的認知過程看翻譯策略的分佈 --- p.166
Chapter 7.1 --- 翻譯認知過程的有關研究 --- p.167
Chapter 7.2 --- 雙語處理過程的經濟原則 --- p.173
Chapter 7.3 --- 理論框架的延伸 --- p.181
Chapter 7.4 --- 對《喜福會》中譯本中翻譯策略分佈的解讀 --- p.184
Chapter 7.5 --- 結語 --- p.187
Chapter 第八章 --- 結論 --- p.189
參考文獻 --- p.197
英文目錄 --- p.215

This short dissertation is based on the comparative analysis of Ivan VladislaviC's short-story collection, Missing Persons (1989) and its French (Belgian) translation, Portes Disparus (1997). The thematic concerns of the source text - produced in South Africa at a time of "increasing socio-political upheaval and transition" (Wood 2001: 21) - add interest to such an investigation, providing insights into how South Africa's transition to democracy has been re-written for a Belgian Francophone audience. In line with recent debates in the field of Translation Studies, the study addresses the central problem of cross-cultural transfer, by embracing two essentially systemic approaches to the study of translated literature: Descriptive Translation Studies (or DTS), and Polysystem Theory. In addition, Lambert and Van Gorp's "Hypothetical Scheme for Describing Translations" is used to investigate and explain the strategies adopted by the translators to transfer concepts that are culturally and historically specific to a transitional South Africa. The initial hypothesis to be tested is that, while Portes Disparus is mainly the product of strategies of 'domestication', it also displays traces of 'foreignisation', which suggest broadly ideological, rather than purely linguistic, motivations on the part of the translators.
Thesis (M.A.)-University of KwaZulu-Natal, Durban, 2008.

This project investigates some segments of Harry Aveling's and John H. McGlynn's English translations of the functional elements of clause-simplex/complex relations, thematic patterns, and coherence related to historical/culture-specific references and culture-specific terms/items employed in Pramoedya Ananta Toer's novel Perburuan. The project aims to establish the translation methods, identify some of the macro factors underlying their choice, and develop a descriptive research framework to carry out these two aims. The project is based on the thesis that concepts and practices of literary translation may be developed and carried out in different ways depending on the underlying macro factors. Source-oriented theories of translation state that literary texts should be translated by preserving the source text, but in actual practice many literary texts have been translated by sacrificing it. Aveling and McGlynn, as shown by a preliminary observation, have translated Perburuan differently, but their translations are both considered acceptable. Most studies of translation between Indonesian and English which claim to be descriptive are actually mainly prescriptive, and in achieving their prescriptive purposes, most of them do not consider the real factors governing the translation. These facts led to the conduct of the project within the framework of descriptive translation studies and the adoption of the thesis and the formulation of the aims as stated above. The project is a descriptive-qualitative case study, based on interpretative epistemology, and applies comparative and causal models of translation. Fifteen segments of translation are analysed with the framework of Systemic Functional Linguistics (SFL) to produce profiles of the functional elements in question employed in the source and target segments. The profiles in Aveling's and McGlynn's target segments are each compared with their original counterparts. The results are analysed with a combination of Nida's and Newmark's classifications to establish the translation methods. To identify some of the macro factors underlying the translators' choice of method, interview and written source data are analysed. The analysis is supported by a combination of the descriptive theories of Polysystem, Descriptive Translation Studies, and Translation as Rewriting, and the prescriptive theory of Skopos. The project establishes that Aveling's and McGlynn's translations have been produced with the methods of formal-semantic translation and dynamic-communicative translation respectively. Aveling's choice of method is influenced by, among other factors, personal aspects, the purpose of the translation, and the type of target readers while McGlynn's choice is influenced by, among other factors, personal aspects, the type of target readers, and the oral quality of Perburuan. These findings support the thesis. The fact that the translation methods and their underlying factors have been successfully established means that the framework developed to establish them has proven to be applicable. The results show that the combination of descriptive and prescriptive theories of translation, the application of the framework of SFL, and the combination of the analyses of interview and written source data are useful for investigating Aveling's and McGlynn's translations. Therefore, the framework developed and applied in the project can serve as a model for other descriptive studies of literary translation.

碩士
國立臺灣師範大學
翻譯研究所
106
Martial Arts Fiction has been one of the most popular forms of literature in Chinese communities around the world for decades. However this genre remains relatively unknown to the English-speaking world due to lack of translations. Complicated cultural and genre specific terms present a great challenge to translating said genre into English. Through this paper I present a guide to translating martial arts fiction through analysis of genre specific terms as found in existing English translations in addition to producing my own sample translation of famed martial arts fiction writer Gu Long’s (古龍) Chu Liuxiang Chuanqi zhi Xiehai Piaoxiang 《楚留香傳奇之血海飄香》.

本論文以Gulliver’s Travels晚清時期的中譯本《海外軒渠錄》（1906）為研究對象，探討譯者對原文諷刺手法的翻譯策略。Gulliver’s Travels 是西方諷刺（satire）文學經典之作，主要通過「敘事角色」（persona）以及「想像遊記」（imaginary voyage）的手法取得諷刺效果。晚清時期中西文學傳統殊異，想要在中文語境中再現原文的諷刺特點，並非易事。本論文通過具體的文本對比和分析發現，由於中國文學傳統以及晚清翻譯規範的影響，譯者在翻譯過程中改寫原文，因此《海外軒渠錄》未能體現Gulliver’s Travels的諷刺手法，而譯文也從一個側面展示出中西文學相互碰撞、對話的過程。本研究希望藉此個案，從文學表現以及文學交流的角度再論晚清小說翻譯。
This thesis examines one late Qing Chinese translation of Gulliver’s Travels in 1906, namely Haiwai Xuanqulu 海外軒渠錄. The study focuses on how the literary devices of satire employed in the original text were rendered into Chinese by the late Qing translators. These devices include a narrative "persona" and the "imaginary voyage" structure. It is a challenging task for the translator to fully render these literary techniques into Chinese in late Qing period when the Western and Chinese literatures were remarkably different. Through detailed text comparison and analysis, we find that, influenced by Chinese literature tradition and late Qing translation practice, the translators made changes in translation in a way that the original satirical effect was not retained in the translated work. The translation also reflects in some degree the clash and dialogue between Western and Chinese literatures. This thesis aims to explore late Qing fiction translation from the perspective of literary transmission.
Detailed summary in vernacular field only.
季凌婕.
Thesis (M.Phil.) Chinese University of Hong Kong, 2014.
Includes bibliographical references (leaves 84-93).
Abstracts also in Chinese.
Ji Lingjie.

《魔戒》（The Lord of the Rings）是現代奇幻小說的代表作品，由英國語文學家、牛津大學教授托爾金創作，自二十世紀五十年代中期分三卷出版後，帶動了奇幻小說此一文學類型在英美的興起。現在流行的奇幻小說，不少仿照了托爾金《魔戒》的架構和寫法。
現代奇幻小說核心概念之一，是要建構一個令讀者信任的“架空世界。小說家為了創造這種獨立存在的想像世界，各出奇謀，手法不一。托爾金塑造架空世界的技巧，很大程度上來自他愛好並從事研究的領域--語言及其歷史發展。在《魔戒》的架空世界中，托爾金刻意經營了一個獨特的語言系統，本研究稱之為“奇幻語言。這個系統至少涵蓋古語、新創語和命名系統三個層面：古語隱含“中土大地 種族發展的歷史；新創語映現了種族不同而語言各殊的現象；命名系統則是前兩者的集中呈現。三者互有關聯，其相互作用加強了架空世界的内部邏輯。
本研究擬從奇幻語言這三個層面入手，結合中國語言及文學的特色，分析四個《魔戒》中譯本的處理手法，藉此探討不同中譯本分別呈現出來的《魔戒》面貌，以及譯文衍生的變異狀況。本研究的分析指出，架空世界的成功變形與再生，有賴譯者對作者奇幻構想的整全掌握，並在譯文中重建一套與作者奇幻構思契合、而又自洽自足的內部邏輯。
The Lord of the Rings (LOTR) by John Ronald Reuel Tolkien (1892-1973) marked the birth of modern fantasy fiction as a genre when it was published in three volumes in the 1950s. The structure and writing techniques of LOTR have been imitated by many fantasy novels since then.
Constructing a trustworthy “Secondary World is one of the most important aims of modern fantasy novels. To reach that goal, novelists employ various methods to create such an independent existence. Tolkien’s techniques in building his Secondary World come largely from Philology, his specialized research area which studies the histories of, and relationships between, languages. An ingenious language system, named in this thesis as “fantastic language, is designed and embedded into the story of LOTR by Tolkien. It covers at least three aspects, namely archaism, invented languages and nomenclature. Archaism indicates and suggests a long history behind the Middle-earth; invented languages show how languages differ among various races; nomenclature is the intersection of the former two aspects. The interaction between the three aspects of the fantastic language enhances the inner logic of the Secondary World, making it appear to be more consistent and real.
This thesis will analyze and discuss different representations of Tolkien’s Secondary World by exploring four Chinese translations of fantastic language in LOTR with reference to specific features of Chinese language and literature. This thesis points out that the successful transformation and re-creation of a Secondary World depends on a thorough understanding of the author’s imagination, and a re-construction of a self-consistent logic compatible with the author’s design.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
Detailed summary in vernacular field only.
張甜.
"2013年7月".
"2013 nian 7 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2013.
Includes bibliographical references (leaves 194-211).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract in Chinese and English.
Zhang Tian.
摘要 --- p.ii
Chapter 第一章 --- 緒論 --- p.5
Chapter 一、 --- 研究對象 --- p.5
Chapter 二、 --- 各章簡介 --- p.9
Chapter 三、 --- 文獻回顧 --- p.10
Chapter 四、 --- 研究價值和方法 --- p.15
Chapter 第二章 --- 奇幻文學發展和特點 --- p.17
Chapter 一、 --- 奇幻的範圍 --- p.17
Chapter 1.1. --- 奇幻文學：廣義與狹義 --- p.19
Chapter 1.2. --- 以“文學類型界定奇幻文學 --- p.21
Chapter 二、 --- 奇幻創作理論基礎 --- p.29
Chapter 2.1. --- “架空世界誕生宣言 --- p.29
Chapter 2.2. --- 令人信服的驚奇感 --- p.30
Chapter 2.3. --- 從《哈比人》到《魔戒》 --- p.32
Chapter 2.4. --- 《魔戒》的奇幻技巧 --- p.34
Chapter 第三章 --- 《魔戒》架空世界和語言的關係 --- p.36
Chapter 一、 --- 《魔戒》與語言 --- p.36
Chapter 二、 --- 托爾金的語言世界 --- p.37
Chapter 2.1. --- 對語音的敏感認知 --- p.37
Chapter 2.2. --- 對古老語言的愛好 --- p.38
Chapter 2.3. --- 從欣賞語言到新創語言 --- p.40
Chapter 2.4. --- 從感性探索到科學研究 --- p.41
Chapter 三、 --- 托爾金的文學世界 --- p.42
Chapter 3.1. --- 民間故事研究熱潮 --- p.42
Chapter 3.2. --- 文學團體互動啓發 --- p.45
Chapter 四、 --- 三個奇幻世界與兩次語言轉變 --- p.46
Chapter 4.1. --- 世界一的奇幻圖景 --- p.47
Chapter 4.2. --- 偽譯以及世界二 --- p.50
Chapter 4.2.1. --- 溝通世界一與世界二的橋樑：偽譯 --- p.50
Chapter 4.2.2. --- 世界二的語言結構 --- p.51
Chapter 4.2.3. --- 世界一到世界二的變形 --- p.52
Chapter 4.2.4. --- 奇幻語言之三個層面：互動及比重 --- p.55
Chapter 4.3. --- 中譯以及世界三 --- p.56
Chapter 第四章 --- 《魔戒》古語之中譯 --- p.59
Chapter 一、 --- 奇幻小說中的古語 --- p.59
Chapter 1.1. --- 古語的定義 --- p.59
Chapter 1.2. --- 古語的流行與誤區 --- p.60
Chapter 二、 --- 《魔戒》古語及其中譯 --- p.60
Chapter 2.1. --- 《魔戒》古語中譯之困難 --- p.61
Chapter 2.2. --- 古老的詞彙 --- p.62
Chapter 2.3. --- 古老的語法 --- p.67
Chapter 2.3.1. --- 詞形變化 --- p.67
Chapter 2.3.2. --- 前置句式 --- p.68
Chapter 2.3.3. --- 分句關係 --- p.70
Chapter 2.4. --- 古老的寫作技巧 --- p.71
Chapter 2.4.1. --- 套語 --- p.71
Chapter 2.4.2. --- 詩文結合 --- p.73
Chapter 2.4.2.1. --- 洛汗人詩歌 --- p.73
Chapter 2.4.2.2. --- 哈比人詩歌 --- p.77
Chapter 2.4.2.3. --- 精靈詩歌 --- p.82
Chapter 2.4.2.4. --- 湯姆龐巴迪的詩歌 --- p.89
Chapter 第五章 --- 《魔戒》命名系統之中譯 --- p.97
Chapter 一、 --- 一般文學與奇幻文學的名字 --- p.97
Chapter 1.1. --- 有意義的虛構名字 --- p.97
Chapter 1.2. --- 奇幻小命名系統的重要性 --- p.98
Chapter 1.3. --- 《魔戒》命名系統的獨特之處 --- p.100
Chapter 二、 --- 《魔戒》命名系統翻譯：托爾金的觀點 --- p.100
Chapter 2.1. --- 〈命名〉提倡的翻譯方法 --- p.101
Chapter 2.2. --- 〈命名〉對中文譯者指導作用的局限性 --- p.103
Chapter 三、 --- 《魔戒》命名系統中譯研究 --- p.103
Chapter 3.1. --- 中文人地名翻譯規範 --- p.104
Chapter 3.2. --- 哈比人名和夏爾地名 --- p.105
Chapter 3.2.1. --- 哈比人名 --- p.105
Chapter 3.2.1.1. --- 熟悉又陌生的哈比人名 --- p.105
Chapter 3.2.1.2. --- 透明的哈比人姓氏 --- p.106
Chapter 3.2.1.3. --- 不透明的哈比人姓氏 --- p.107
Chapter 3.2.1.4. --- 不可譯元素 --- p.108
Chapter 3.2.2. --- 夏爾地名 --- p.110
Chapter 3.2.2.1 --- 透明的夏爾地名 --- p.110
Chapter 3.2.2.2 --- 半透明的夏爾地名 --- p.111
Chapter 3.2.3. --- 重要人名與地名 --- p.113
Chapter 3.2.4. --- 夏爾人地名總結 --- p.113
Chapter 3.3. --- 布理姓氏 --- p.114
Chapter 3.3.1. --- 作品描述影響譯名 --- p.114
Chapter 3.3.2. --- 出現偏差的意譯 --- p.116
Chapter 3.3.3. --- 布理姓氏中譯總結 --- p.117
Chapter 3.4. --- 洛汗人名、馬名和地名 --- p.117
Chapter 3.4.1. --- 洛汗人名 --- p.118
Chapter 3.4.2. --- 洛汗馬名 --- p.119
Chapter 3.4.3. --- 洛汗地名 --- p.121
Chapter 3.4.4. --- 洛汗命名系統中譯總結 --- p.122
Chapter 3.5. --- 新創語人名和地名 --- p.122
Chapter 第六章 --- 《魔戒》新創語之中譯 --- p.124
Chapter 一、 --- 多語文本之中譯 --- p.124
Chapter 二、 --- 《魔戒》裡的新創語 --- p.126
Chapter 2.1. --- 新創語的地位 --- p.126
Chapter 2.2. --- 《魔戒》新創語分類 --- p.127
Chapter 三、 --- 《魔戒》新創語之中譯 --- p.128
Chapter 3.1. --- 圖片形式的新創語翻譯 --- p.128
Chapter 3.2. --- 文字形式的新創語翻譯 --- p.133
Chapter 3.2.1. --- 篇幅較長的新創語翻譯 --- p.133
Chapter 3.2.2 --- 新創語詞彙片語之翻譯 --- p.136
Chapter 3.2.2.1. --- 《魔戒》洛汗語和矮人語翻譯 --- p.137
Chapter 3.2.2.2. --- 《魔戒》樹人語、半獸人語和黑話翻譯 --- p.139
Chapter 3.2.2.3. --- 《魔戒》精靈語翻譯 --- p.142
Chapter 第七章 --- 結論 --- p.147
Chapter 附錄一 --- 中英譯名對照 --- p.154
Chapter 附錄二 --- 《魔戒》種族人名地名中譯表 --- p.156
Chapter 附錄三 --- 《魔戒》命名系統指南 --- p.168
参考書目 --- p.194

本文以《红楼梦》回目翻译为例，描述中西方小说叙事传统下回目功能对于作者和译者都同样存在的作用力。梳理前人研究《红楼梦》及其翻译的成果，提出《红楼梦》回目翻译研究的意义；在对原文回目特点略作整理的基础上，共收集十种译本，以其中八种英译本和一种德译本为重点展开讨论，举例比较；主要以文本分析为方法，综合参考翻译、语言学、文化研究、叙事学等方面的理论。首先介绍译本以及原著版本的选择问题；概述原著回目和英文译本研究现状以及二者的相对意义；再进行原文回目研究，从章回小说起源与回目的发展谈起，归纳《红楼梦》回目的特点，描述在西方文学传统中难以再现之处；论及章回回目与西方章节标题的差异。在此基础上，论文还从不同角度对原文与译文回目进行比较研究，主要包括内容、形式、语言、叙述功能、艺术效果等方面；之后描述原文回目、原文章回内容、译文回目、译文章回内容之间的错综关系；并研究读者反应；再从文化视角进行论证。最后在结论中归纳回目的创作与再创作过程中对作者和译者同时起作用的因素，并总结翻译难度与译文得失。
This thesis studies English translations of the chapter titles of the classical Chinese Zhanghui xiaoshuo (chapter-novel) Hong lou meng, also known as Dream of the Red Chamber or The Story of the Stone in the English-speaking world. It describes the changes made and effects achieved in different versions by different translators. The aim is to try to explain how the narrative and aesthetic functions of chapter titles influence both the processes of the author(s)’ writing and the translators’ rewriting, within the traditions of Chinese and Western fiction. The research covers nine versions in English and one version in German. The approach is eclectic: theories or concepts in translation, narratology, linguistic, etc. will be utilized whenever. Firstly, an introduction relevant to the selection of versions of the original and its translations will be given. Following the introduction is a review of previous studies on Hong lou meng, on its chapter titles, and the English translations of both the work itself and the chapter titles. The thesis will then study the origins and development of chapter titles in classical Chinese novels and in Western literature, find out the differences, and see if they share similar features or functions. Then it will go on to make comparison between the original chapter titles and their translations on the micro level, and discuss the narrative functions and aesthetic effects achieved by the translations, by studying changes made in the contents, form, and language of the chapter titles. In the thesis, the intricate relationships between chapter titles and chapter contents, both in the original work and in the translation will be described. After that, the thesis will focus on reader response. The translations of chapter titles will also be analyzed from cultural perspectives by examining culturally-loaded words in the original chapter titles and identifying Western culture embodied in their versions. Finally, the difficulties of translating the chapter titles and the merits and demerits of the translations will be summed up.
Detailed summary in vernacular field only.
黄小谊.
"2012年8月".
"2012 nian 8 yue".
Thesis (M.Phil.)--Chinese University of Hong Kong, 2012.
Includes bibliographical references (leaves 213-237).
Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web.
Abstract in Chinese and English.
Huang Xiaoyi.
摘要 --- p.i
Abstract --- p.ii
目录 --- p.iii
Chapter 第一章 --- 引言 --- p.1
Chapter 一． --- 论文范围与研究意义 --- p.1
Chapter 二． --- 论述结构与研究方法 --- p.2
Chapter 三. --- 原文版本与参考文本 --- p.4
Chapter 四． --- 译本简介 --- p.6
Chapter 第二章 --- 文献综述 --- p.11
Chapter 一． --- 《红楼梦》原著及回目研究 --- p.11
Chapter 1． --- “红学与《红楼梦》研究 --- p.11
Chapter 2． --- 《红楼梦》回目研究 --- p.13
Chapter 二. --- 《红楼梦》及回目英译研究 --- p.17
Chapter 1． --- 《红楼梦》翻译及英译研究 --- p.17
Chapter 2． --- 《红楼梦》回目英译研究 --- p.29
Chapter 第三章 --- 原文回目研究 --- p.40
Chapter 一． --- 章回小说与章回回目 --- p.40
Chapter 1． --- 章回小说的概念 --- p.40
Chapter 2． --- 章回小说及其回目的发展 --- p.44
Chapter 二． --- 《红楼梦》回目的功能与效果 --- p.49
Chapter 1． --- 形式与内容 --- p.49
Chapter 2． --- 用字组词特点及作用 --- p.50
Chapter 3． --- 叙述功能 --- p.53
Chapter 4. --- 审美效果 --- p.55
Chapter 第四章 --- 章回回目与章节标题 --- p.58
Chapter 一． --- 西方小说章节标题的起源和发展 --- p.58
Chapter 二． --- 章回回目与章节标题的差异在翻译中的体现 --- p.70
Chapter 第五章 --- 原文与译文回目的比较 --- p.74
Chapter 一． --- 总目的编排与回目形式特征的展示 --- p.74
Chapter 二． --- 回目译文形式与内容 --- p.77
Chapter 1． --- 删节内容，简化形式 --- p.77
Chapter 2． --- 更改内容，保留形式 --- p.81
Chapter 3． --- 筛选内容，重组形式 --- p.84
Chapter 4． --- 保留内容，破坏形式 --- p.86
Chapter 5． --- 内容出发，兼顾形式 --- p.87
Chapter 三． --- 回目内容与叙述功能 --- p.89
Chapter 1． --- 提纲挈领--纲领简化 --- p.90
Chapter 2． --- 综括全章 --- p.91
Chapter 3． --- 点补情节--重心偏移 --- p.92
Chapter 4． --- 刻画人物 --- p.93
Chapter 5． --- 暗示情节--过度预叙 --- p.95
Chapter 四． --- 译文语言与艺术效果 --- p.98
Chapter 1． --- 修辞手法 --- p.98
Chapter 2． --- 常用字词 --- p.103
Chapter 第六章 --- 回目与章回内容之间的错综关系 --- p.110
Chapter 一． --- 何谓“错综关系 --- p.110
Chapter 二． --- 原文回目与章回内容的错综关系 --- p.111
Chapter 1． --- 回目功能与回目-章回内容关系 --- p.112
Chapter 2． --- 回目上下句与章回内容的错综关系 --- p.113
Chapter 3． --- 回目上句与下句之间的关系 --- p.115
Chapter 4． --- 回目与章回内容的交错关系 --- p.116
Chapter 5． --- 回目局部与其他章回内容的遥相对应 --- p.117
Chapter 6． --- 回目局部与章回内容的偏离关系 --- p.118
Chapter 三． --- 译文回目、原文回目、章回内容之间的错综关系 --- p.119
Chapter 1． --- 路径一，从原文回目到译文回目 --- p.119
Chapter 2． --- 路径二，从章回内容到译文回目 --- p.120
Chapter 3． --- 路径三，从原文章回内容（包括不同章回）到译文章回内容，再由译文章回内容到译文回目 --- p.121
Chapter 4． --- 路径四，从原文回目到译文回目上句，从章回内容到译文回目下句（或反之） --- p.123
Chapter 四． --- 双重错综的效果：译文的“纠错功能 --- p.125
Chapter 五． --- 关系错综的内因 --- p.128
Chapter 第七章 --- 读者反应研究 --- p.129
Chapter 一． --- 作者与读者：作者的读者意识 --- p.129
Chapter 二． --- 读者与回目：读者意识的载体 --- p.131
Chapter 三． --- 读者与译者：译者的读者意识 --- p.133
Chapter 四． --- 接受的接力：译者的双重身份 --- p.138
Chapter 五. --- 原著读者与译著读者 --- p.141
Chapter 1． --- 回目功能与读者预期 --- p.143
Chapter 2． --- 审美效果与读者感受 --- p.151
Chapter 第八章 --- 文化视角下的回目翻译研究 --- p.154
Chapter 一． --- 翻译研究与文化研究的契合点及本章的重点 --- p.154
Chapter 二． --- 译者的社会文化背景 --- p.155
Chapter 三． --- 译者的双语言、双文化能力 --- p.162
Chapter 四． --- 回目中文化负载词的翻译 --- p.164
Chapter 1． --- 第一类，具体的文化词语 --- p.166
Chapter 2． --- 第二类，抽象的文化词语 --- p.180
Chapter 五． --- 文化的缺失、交融与不可译性 --- p.193
Chapter 第九章 --- 结论 --- p.198
Chapter 一． --- 回目翻译的困难 --- p.198
Chapter 1． --- 回目翻译似易实难 --- p.198
Chapter 2． --- 章回回目的自身难度 --- p.199
Chapter 3． --- 中西差异导致的难度 --- p.203
Chapter 二． --- 叙述功能制约下的创作与再创作 --- p.206
Chapter 1． --- 叙述功能 --- p.206
Chapter 2． --- 审美效果 --- p.207
Chapter 3． --- 读者反应 --- p.208
Chapter 三． --- 本文的不足之处 --- p.209
Chapter 四． --- 话题的拓展延伸 --- p.210
Chapter 1． --- 译文回目研究辅助原著回目研究 --- p.211
Chapter 2． --- 西方章节标题与中国章回回目的全面比较 --- p.212
参考书目 --- p.213

A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts in Translation Johannesburg, March 2016
The study provides a comparative and contrastive analysis of Calixthe Beyala’s novel, C'est le soleil qui m'a brûlée, and its translation, The Sun Hath Looked upon Me, by Marjolijn de Jager focusing on textual, paratextual and metatextual elements of these two texts. The analysis shows how the translator dealt with the disruptive stylistic effects of a postcolonial text and the themes around which the novel is centred. Problems and solutions related to postcolonial translations and relevant theories are approached in the analysis. The textual analysis is done using Gérard Genette’s (1997) model of analysis of the elements of the paratext and Vinay and Darbelnet’s (1995) model of comparative analysis of French and English.
GR2017

Text in English
This study focuses on the strategies and devices used to create humour in children’s literature. No language is a replica of another language and it is generally accepted that a translator has to be creative in order to make the Source Text (ST) meaning available to the Target Text (TT) reader. The research conducted in this study aims to fill a gap regarding the application of humour in the rather under-researched field of children’s literature. A descriptive framework was used to conduct this qualitative study in order to be able to describe the linguistic strategies and devices used to translate the English source text by Roald Dahl, Charlie and the Great Glass Elevator into the Afrikaans Target Text, Charlie en die Groot Glashyser by Kobus Geldenhuys. Literary devices to create humour, employed by both the writer and the translator, were identified and analysed. Interviews and reading sessions with ST learners (English) as well as TT learners (Afrikaans) were conducted in order to observe their non-verbal reactions as well as document their verbal comments to complement the data obtained from the textual analysis. The textual analysis showed that the literary device most frequently applied in the ST was the simile and the main trend regarding the transference of humorous devices to the TT was to retain the device with formal equivalence. The most popular translation strategy was direct translation with the most important shifts identified on morphological and lexical level and shifts in expressive and evoked meaning were relatively low. With regard to the reading sessions, the most positive results from both groups of learners regarding humorous devices in the ST and TT were obtained for the device of inappropriate behaviour.
Linguistics and Modern Languages
M.A. (Linguistics)