Dissertations / Theses on the topic 'Vernacular Translations'

Thesis (Ph.D.)--Indiana University, Depts. of Comparative Literature and English, 2007.
Title from PDF t.p. (viewed Nov. 11, 2008). Source: Dissertation Abstracts International, Volume: 68-07, Section: A, page: 2932. Advisers: Herbert J. Marks; Judith H. Anderson.

À la fin de la dynastie Ming, Baoweng laoren a sélectionné quarante contes en langue vulgaire dans la collection San Yan Er Pai 三言兩拍 de Feng Menglong et de Ling Mengchu. Cette anthologie est connue sous le titre Jingu qiguan 今古奇觀 (Spectacles curieux d’aujourd’hui et de jadis). Elle a connu un immense succès à l’époque de sa publication et a été sans cesse rééditée. Aujourd’hui, elle est considérée comme un chef-œuvre représentatif de la littérature chinoise en langue vulgaire. Sa réputation a dépassé la frontière de la Chine depuis longtemps. Au XVIIIe siècle, trois contes du Jingu qiguan ont été traduits pour la première fois en Europe par un jésuite français. Dès lors, l’œuvre a connu de très nombreuses traductions partielles, retraductions et réécriture dans toute l’Europe. Seulement en langue française, il en existe déjà trente traductions partielles et une traduction intégrale, ainsi que de nombreuses réécritures de natures variées. Cela nous amène à nous interroger sur les raisons de ces traductions et retraduction, et à nous intéresser à leurs différentes réécritures. Qui les a traduits et comment ont-ils été traduits ? Ces contes ont-ils exercé quelque influence sur la littérature locale, et de quelle manière ? La présente étude a pour objectif de traiter toutes ces questions
At the end of the Ming Dynasty, Baoweng laoren has selected forty tales of the three collections of Feng Menglong and two collections of Ling Mengchu to compile another anthology entitled Jingu qiguan 今古奇觀 (curious spectacles of today and of the past). This anthology was a huge success at the time of its publication, and is constantly reprinted for centuries until today. Today it is considered as a main representative work of Chinese literature in vernacular language. The reputation of Jingu qiguan has already exceeded the Chinese border since a long time. Since the 18th century, three tales of the Jingu qiguan were translated for the first time in Europe by a French Jesuit. Therefore, throughout the centuries, the Jingu qiguan has experienced a lot of partial translations, retranslations and adaptation across Europe. Only in French, there are about thirty translations, retranslations and rewrite of Jingu qiguan. So that leads us to wonder why these stories have constantly been translated and retranslated, or even rewritten. Who have translated them and how they have been translated? How these translations did had some influence in the local literature? This study is intended to cover all these issues

In the 1520s, thanks to the infiltration into England of Martin Luther’s books, the English government began a dedicated campaign to protect the country from heresy. Their efforts, though substantial, failed to stem the tide of heresy. Though he was living in exile in the Low Countries, William Tyndale was the leading vernacular spokesman of the first generation of English religious reformers. He was also England’s most talented early sixteenth-century Bible translator. Tyndale’s opponents perceived him to be the greatest threat to the preservation of the traditional faith in England. This thesis argues that Tyndale’s position in modern historiography does not accurately reflect the one he held in his own day and that the erroneous portrayal is due to an inadequate examination of important aspects of the coming forth of the first printed editions of the English Bible. The areas of neglect include: the extent of the Biblical content of orthodox vernacular religious books published prior to 1526, English authorities’ perceptions of the social and political impact of an English Bible, Tyndale’s motivations for translating the Bible, the English government’s rejection of Tyndale’s English New Testament, and Tyndale’s theological influence on later translations of the English Bible. Drawing on all of Tyndale’s published works, the body of vernacular religious writings printed between 1500 and 1525, and on the six cardinal English Bible translations between 1535 and 1611, this thesis demonstrates Tyndale’s significant contributions to the English Reformation. It shows that Tyndale’s 1526 English New Testament filled lay desire for an English Bible, that Tyndale was a formidable theologian who developed a distinct theology and a unique Bible-based social structure, and that Tyndale exerted considerable influence over English vernacular theology as well as on the theology of the English Bibles that followed his own translations.

This thesis will investigate the processes of translation and rewriting (réécriture) in the thirteenth and fourteenth centuries, through a study of the French and Italian Merlin corpus. In particular, it will focus upon the products of translation between vernacular languages, which, as a practice, displays a greater degree of heterogeneity than translations into the vernacular from Latin. Medieval translation will be studied through a comparative analysis of the story of Merlin’s conception in Robert de Boron’s Merlin and Paulino Pieri’s La Storia di Merlino, in addition to an examination of the translation of Merlin’s prophecies as recounted in the Prophecies de Merlin, the Storia and the Vita di Merlino. These instances of translation will be compared to and studied alongside the processes of intralingual réécriture. Rewriting within the French tradition will be investigated through an analysis of the interpretative transition from the Vulgate Estoire de Merlin to the Post-Vulgate Suite du Merlin; in particular, the reinterpretations of Merlin’s prophetic discourse and the character of Merlin’s lover, Viviane, will be examined. The study will take as its methodological basis the semiotic theory of Charles Sanders Peirce, particularly the concept of semiosis; this defines interpretation as an exchange of signs, through which meaning is transmitted and developed. In this way, the Merlin corpus will be regarded as a continuum of interpretation, through which the meaning of narratives is interpreted by other signs, thought patterns and extra-textual cultural discourses; more broadly, the whole medieval tradition of translation and réécriture will also be regarded as a part of this same continuum, displaying the same interpretative patterns.

This thesis explores the use of contemporary urban vernaculars in creative writing in Sweden and the UK. Contemporary urban vernaculars can be defined as varieties of informal speech that have emerged in urban areas with high ethnic and linguistic diversity, and have come to index social affiliation and identity. The thesis examines the form these varieties take when represented in selected examples of creative writing including rap lyrics, poetry, prose, drama, and translation. It also looks at the way such varieties progress from one form to another, arguing that there is a translation effect in operation as spoken language is codified through oral and written forms both within, and between, languages. In order to do all this, the study progresses through a number of steps. First it describes the linguistic phenomena in question; identifying potential equivalences between occurrences of these phenomena in Swedish and English. It then investigates the ways these forms of spoken language have found their way into rap, and then literature, as well as exploring the connections and disparities between these creative verbal forms, both in terms of their formal qualities and their social ones. The main literary corpus consists of a small number of works in Swedish published from 2001 to 2008, including a play, poems, short stories and novels. In addition to this corpus, the thesis discusses UK novels from 2003 and 2011, and a range of lyrics by rappers in Sweden and the UK, spanning a period from the early 1990s to 2014. Subsequently, it looks at the way translators working between Swedish and English have dealt with contemporary urban vernaculars in some of these texts, as well as discussing translators’ treatment of ‘non-standard’ language more generally. The thesis concludes by reflecting on the social implications of representing and codifying contemporary urban vernaculars in the ways described.

This dissertation discusses the Edo-period Japanese translation, adaptation, and theoretical analysis of Chinese popular fiction and drama between 1680 and 1815. I focus on the ways in which Japanese encounters with fiction and drama written in the unfamiliar “vernacular” engendered reinterpretations of Japan’s cultural relationship to China. Whereas this relationship had previously centered largely on the Confucian classics and their ongoing interpretation in Japan, I argue that the introduction of vernacular texts enabled new modes of visualizing China’s position as a locus of textual and cultural authority. I connect the increasingly formalized study of vernacular texts to a discourse on temporality and linguistic change, and demonstrate the degree to which engagement with late imperial Chinese fiction and drama led to the reformulation of definitions of culture, literature, and language. By dramatically widening the range of materials and texts that could be used to construct a vision of China, the introduction of vernacular fiction and drama encouraged Edo-period philologists and fiction connoisseurs to reconceptualize both the criteria for judging textual competence, and the position of their own writing with respect to China. Rather than focusing on eighteenth-century efforts to efface traces of China’s cultural imprint on Japan, I seek to complicate accounts of the development of Japanese literature by exploring the oeuvres of philosophers, philologists, and fiction writers who attempted to theorize areas of convergence between Chinese and Japanese literary production. The study is divided into four chapters. Chapter One introduces the major themes of the dissertation as a whole and analyzes the rhetoric surrounding both the introduction of Chinese vernacular texts and subsequent attempts at reifying their study as an independent academic discipline. Chapter Two develops these themes further through an analysis of three eighteenth-century explorations of aesthetics, genre, and literary translation. In Chapters Three and Four, I examine a group of anomalous “reverse translations” of Japanese fiction and drama into the language and structure of vernacular Chinese fiction—using these largely overlooked texts to map out networks of literary contact and discuss the hermeneutics underlying eighteenth-century Japanese engagement with vernacular Chinese fiction and drama.
East Asian Languages and Civilizations

This thesis explores a series of linked issues. These include, but are not limited to, • The historical significance of early modern vernacular Bibles. • The difficulty of translating the Koine Greek phrase οὔτε μαλακοὶ οὔτε ὰρσενοκοῖται (outay malakoi outay arsenokoitai) in 1 Corinthians 6:9. • The influence of culture and location on the translation of οὔτε μαλακοὶ οὔτε ὰρσενοκοῖται in early modern vernacular Bibles. • The implications of local considerations upon the interpretation of Biblical passages within sixteenth and seventeenth century Germany, France, England, and Italy.

Frågeställning Hur översätter man och representerar ett lands kultur genom arkitektur?  Går det att skapa en mer lättillgänglig arkitektur genom vår metod och ingång? Ingång/Metod Genom en folklig ingång studera landets matkultur/traditioner kring mat samt tillhörande miljöer lära sig om landet. Tillämpning Finska institutet är en kulturinstitution avsedd att främja finsk kultur och sprida denna i Sverige. Den kultur som representeras idag kan kompletteras med en mer direkt och upplevelsebaserad approach. Genom att ta del av landets okända matkultur skapas en enkel ingång för gemene man att få en första upplevelse utav landet.  Resultatet En finsk restaurang, bar och utställningslokal i Finska institutets bottenvåning i centrala Stockholm samt en bok om finsk matkultur och dess arkitektur. Lokalerna i det ritade förslaget är gestaltade utifrån en upplevelsebaserad metod som handlar om att studera folkliga traditioner och karaktärsdrag, med avstamp i landets matkultur. I egenskap av arkitekter ger vi dessa teman och ledord dess materialitet, rumslighet och atmosfär.
Question formulation How do one interpret and represent a countrys’ culture through architecture? Is it possible to create a more easily accessible architecture through our method and starting point? Starting point/Method Through a vernacular starting point study the countrys  food culture and traditions and their environments learn more about the country. Application The Finnish Institute is a cultural institution working and promoting Finnish culture in Sweden. The culture exhibited at the institute today could be complemented with a more direct and experiential approach. By taking part of the countrys’ fairly unknown food culture an easy access is created for everyone to get a first experience of the country. Result A Finnish restaurant, bar and event space and gallery at the ground floor of the Finnish Institutes house in central Stockholm. The rooms are configured by using a experiential method to investigate vernacular traditions and characteristics, with starting point in the Finnish food culture. As architects we are giving these rooms themes which configures their materiality, spatiality and atmosphere.

Par commodité, le corpus oresmien est souvent scindé en deux parties. L'une, scientifique, regrouperait ses traités scientifiques et ses commentaires universitaires en philosophie naturelle. L'autre, politique et morale, comprendrait les traductions en français de la Politique, des Économiques, et de l'Éthique à Nicomaque d'Aristote. Cependant, une telle dichotomie présente bien des inconvénients. Tout d'abord, un tel schématisme ne laisse pas de place aux écrits dits « polémiques » d'Oresme contre l'astrologie prédictive, ni à son traité monétaire. Il convient d'ailleurs de remarquer que, tout au long de sa carrière, et pour ces ouvrages en particulier, Nicole Oresme a pratiqué l'écriture, la traduction et l'auto-traduction en français. D'autre part, si, du point de vue de la réalité historique, cette distinction créé l'illusion de deux auteurs distincts, elle tend aussi à imposer une différence d'importance entre les deux pans de l'œuvre de Nicole Oresme et nie, justement, l'idée d'un œuvre unifiée par un auteur, et un projet. Or, l'adoption du français comme langue d'écriture tout au long de sa vie nous en fournit un indice. La rédaction à la fin de sa carrière d'un texte en vernaculaire et d'une grande complexité scientifique tel que le Livre du Ciel et du Monde en constitue un autre. Les déclarations qui émaillent tous les textes de Nicole Oresme sur le but de la connaissance et les méthodes argumentatives mises en œuvre pour y parvenir constituent encore une autre piste de réflexion. Le but de ce travail est donc de suivre les chemins empruntés par Oresme dans ses écrits, reconstituer son itinéraire en tant qu'auteur, et de montrer que le philosophe normand a établi un projet, affermi au cours des années, au cœur duquel se trouve une conception originale et unifiée de l'homme, de son rapport au savoir, et de son rapport aux autres
For the sake of convenience, the oresmian corpus has often been split into two parts. In a scientific one would be gathered his science treatises and his natural philosophy commentaries, whereas his translations into French of Aristotle's Politics, Economics and Nicomachean Ethics would belong to a political and moral one. But this dichotomy presents with a lot of flaws. First of all such a simplification doesn't take into account either the so-called pamphlets Oresme wrote against judicial astrology nor his monetary treatise. Besides, one must bear in mind that Oresme continuously wrote and translated his own writings into French, and especially those treatises. Secondly, in addition to being historically inaccurate, positing two “Oresmes” tends to suggest that one of these aspects would prevail over the other. It denies the very idea of an oeuvre, intended as unified by its author and the project he envisioned. Yet, the fact that Oresme chose to write some of his works in French all along his life indicates such a continuity. Another clue would be that he composed the Livre du Ciel et du Monde at the end of his career, a book both in French and of a great scientific complexity. To enlighten us about these matters, we can rely on the many passages Nicole Oresme devotes to knowledge and the means to attain it. The present thesis aims to walk in Oresme's steps, reconstruct his journey as an author and philosopher, and to show that he gradually established a unique and unified conception of man in all its dimensions, political as well as scientific

O principal objetivo desta dissertação é investigar e analisar como os movimentos diaspóricos e as relações familiares exercem influência na construção das identidades das mulheres em Quicksand, de Nella Larsen, e Lucy, de Jamaica Kincaid. As questões a que pretendo responder são: Como as personagens principais, Helga Crane e Lucy, lidam com as diferentes culturas que encontram nas suas trajetórias ? ; Como essas diferentes culturas lidam com essas mesmas personagens?; e Como o encontro entre essas diferentes culturas e as relações familiares são descritos e influenciam na construção da identidade feminina nessas obras?. Minha hipótese é que encontraremos nas obras selecionadas duas jornadas, portadoras tanto de aspectos comuns quanto distintos, que começam com o desejo das personagens principais de escapar da opressão patriarcal. Isto é, Helga Crane e Lucy passam por um período de muitas descobertas sobre elas mesmas e as sociedades com que têm que lidar, o que determina dois produtos diferentes: a construção das identidades híbridas de Lucy, em meio a sua solidão, na obra de Kincaid, e a construção e o sufocamento das identidades de Helga pela religião, o patriarcado e as relações familiares, na obra de Larsen
The main aim of this thesis is to investigate and analyze how the diasporic movements and the family relations exert influence on the construction of womens identities in Nella Larsens Quicksand and Jamaica Kincaids Lucy. Therefore, the questions I intend to answer are: How do the main characters, Helga Crane and Lucy, deal with the different cultures they find in their trajectories?; How do these different cultures deal with these same characters?, and How is the meeting of such different cultures and family relations portrayed, as well as how does it exert influence on the construction of the female identity in these works? My hypothesis is that in the selected works we will find two journeys, which have both similar and distinct aspects, and begin with the main characters desire to escape oppression. Given these facts, the protagonists go through a period of many discoveries about themselves and the societies with which they have to deal, which unfolds into two products: the building of Lucys autonomous hybrid identities in her loneliness in Kincaids work, and the building of Helgas hybrid identities overshadowed by religion, patriarchy, and family relations in Larsens work

Jin Ping Mei 金瓶梅, œuvre controversée dès son apparition à la fin du XVIe siècle, fut très tôt reconnue comme une des œuvres phare du roman chinois en langue vulgaire, notamment par Feng Menglong 馮夢龍 (1574-1646) qui le désigna comme un des Si da qishu 四 大奇書 (Quatre grands livres extraordinaires). De nombreux mystères à son sujet restent encore débattus aujourd’hui, parmi lesquels l’identité de son auteur, l’authenticité de ses éditions, ou les interprétations possibles de ce roman. La réputation exécrable dont il continue de souffrir en Chine continentale ne l’a pas empêché de susciter l’intérêt des premiers sinologues français et anglais et ceci dès 1816. En prenant pour point de départ une analyse des sources et une synthèse des hypothèses en cours concernant Jin Ping Mei et ses interprétations, notre thèse fera le point sur toutes les adaptations et traductions en anglais et en français de l’ouvrage, notamment en mettant en parallèle les deux meilleures traductions intégrales dont nous disposons actuellement, à savoir en français, celle d’André Lévy (1985), et en anglais, celle de David Tod Roy (de 1993 à 2013). Cette confrontation nous permettra de distinguer les différentes interprétations de l’ouvrage retenues par les traducteurs, et d’exposer les stratégies mises en place par eux pour le traduire. Un aspect crucial de notre travail consistera à souligner dans notre critique les positions interprétatives des traducteurs, et le potentiel interprétatif qui résulte de leurs choix. Loin de vouloir appliquer à ces traductions un jugement de valeur, nous espérons au contraire offrir une meilleure compréhension de la profondeur de cette œuvre si complexe et controversée
Jin Ping Mei 金瓶梅, one of the greatest masterpieces of the vernacular Chinese fiction, faced controversy ever since it appeared at the end of the 16th century. Scholars like Feng Menglong馮夢龍 (1574-1646) recognized the novel to be exceptional early on, placing it amongst the Si da qishu 四大奇書 (Four Masterworks of the Ming Novel). However, there still is a halo of unresolved mysteries around Jin Ping Mei, despite the fact that it has been the focal point of numerous studies. Some questions remain unsolved, such as the identity of its author, the authenticity of its editions, or its possible interpretations. Despite the bad reputation that the novel still suffers from in mainland China, its raised the interest from French and English sinologists as soon as 1816. Ever since, the novel has been the subject of partial translations and adaptations highly perfectible. Starting with an analysis of the sources and a synthesis of current hypothesis about the book and its interpretations, our thesis will then focus on all the adaptations and translations of the novel in English and in French, to ultimately confront the two best integral translations available to that day, namely André Lévy’s (1985) and David Tod Roy’s (1993 to 2013). This confrontation will allow us to distinguish the interpretations that translators had of the novel, and to expose the strategies they resorted to. A crucial part of our work will be to underline the interpretative positions of both translators, and the interpretative potential that results from their choices. Our goal is not to judge of the value of said translations, but rather to offer a better understanding of the depth of Jin Ping Mei
自十六世紀末問世以來，《金瓶梅》一直都是一部有爭議的作品。作為一部中國古代通俗長篇小說的著作，以及被馮夢龍稱為“四大奇書”之一，《金瓶梅》至今為止仍存在許多未解之謎。雖然對作品的相關研究日漸增多，但是關於作者的身份、版本以及對作品的闡釋等問題尚未達成共識。直至今日，《金瓶梅》在中國仍臭名昭著，但是這並不妨礙它在國外的流傳。早至1816 年，這部作品便引起了法國第一位漢學家的注意。兩個世紀以來，在法國紛紛出現了各種選段翻譯、改寫以及問題種種的不完整的法譯本。同樣，《金瓶梅》在英美國家的傳播之路也是漫長而艱難。該論文首先對《金瓶梅》的文學特色以及作品闡釋的問題進行相關探討，然後對《金瓶梅》所有翻譯和改寫的法譯本和英譯本進行研究，特別是對該作品的兩個完整的法譯本(André Lévy 雷威安 1985 年譯成)和英譯本(David TodRoy 苪效衛 1993 年至2013 年五卷本) 進行對比研究。通過對這些譯本的研究，我們能深入地了解譯者對作品的闡釋，他們採用的翻譯策略，以及他們譯本的優劣性。該論文的研究重點是譯者對作品闡釋的主體性，以及他們的翻譯策略給譯本讀者對原著理解帶來的影響。我們的研究並不是為了對譯本進行質量的評估，而是通過對譯本的研究來讓我們對《金瓶梅》這一複雜而極具爭議的作品有更深層的了解。

With this work the critical edition of an unpublished vernacular translation of the Achilleid by Statius is offered; this is possible thanks the only two manuscripts that are known today: the former located in Florence at the Medicea Laurenziana library and the latter at the Estense library in Modena. Apart from three works that make an isolated mention of the existence of the work, there is no trace of a vernacular edition of the unfinished poem by Statius. In both copies, in addition to the almost complete translation of the classic work, there are the preface and the résumé of the poem; in the Estense manuscript other elements are included: an excursus of the pagan deities; a short description of pre-Christian religions. In the sections where the work appears to require more clarification, the translation of the letter is sometimes followed by a synthetic explanation of the meanings. The two manuscripts present a different version of the vernacular translation: the first in the Florentine language, whereas the second, which is more complete and detailed, in Venetian. The necessity of proposing two separate editions is due to two main reasons: the diverse extensiveness of the discussion and of the linguistic features; and the significant and numerous differences between the two versions of the work. Both editions are made of an apparatus which exposes the content of the manuscripts and, for each locus criticus, makes a comparison with the two; finally, it gives information on the vocabulary, it deals with the history of translation and it shows the association with the Latin original work. The introduction gives the most relevant information related to the textual elements and dating; it presents a synthetic reconstruction of the diffusion of the Achilleid during the Middle Ages and Humanism; and it offers a study on the relations between our work and the manuscript translation of the unfinished poem by Statius. The first chapter deals with a detailed comparison between the two versions of the work: a synoptic reading is given of each table of contents, of the presence/absence of chapters or paragraphs related to an historical or mythological excursus, of the additional elements or variations (more or less equivalent to the Latin original work), of the mistakes related to the work by Statius and, finally, of the shared omissions. Looking at the single editions that show a minute knowledge on the connection between the works, there’s an initial study on the relations with the Achilleid, the translations, and the variations and extensions. Thanks to the error analysis, the presence of coincidences and relevant omissions, it was possible to speculate on the existence of an archetype. In the section dedicated to the error analysis, both polygenic and non-polygenic, there are two charts that contain those variae lectiones that may be set as wrong variations or single omissions of the two manuscripts (this choice comes from the need to promote an easy comparison between the two manuscripts, that are so diverse even though bonded). Two linguistic studies based on the most recent editions of the vernacular translations were led, this was due to the demand for the establishment of the genesis and development of the two works. Hence, the Florentine version was analyzed from a diachronic point of view: the linguistic devices were not only interpreted in relation to their phonetic, morphological or syntactic nature but in relation to their historical development and distribution. Apart from the bibliography and the footnotes, the work end with a glossary compiled on the Venetian manuscript, this choice was dictated by two major arguments: the need of studies on vocabulary related to the Veneto-Venetian area, and unwitnessed elements present in this work.
Si propone in questa sede l’edizione critica di un inedito e integrale volgarizzamento dell’Achilleide di Stazio, noto, ad oggi, soltanto attraverso due testimoni, custoditi l’uno a Firenze, presso la Biblioteca Medicea Laurenziana, e l’altro a Modena, presso la Biblioteca Estense. Di un volgarizzamento dell’incompiuto poema staziano non si rintraccia alcuna notizia, con l’eccezione di tre contributi che recano soltanto isolata menzione dell’esistenza del testo. In entrambe le copie alla quasi completa traduzione dell’opera classica si aggiungono un proemio, un’esposizione dell’opera e, per l’esemplare estense, un’excursus inerente la genealogia delle divinità pagane e una breve descrizione delle singole religioni antecedenti il cristianesimo; la traduzione della lettera è a volte seguita, nei passi in cui il testo sembra presentare maggiori esigenze di chiarimento, da una sintetica illustrazione del significato del testo stesso. I due manoscritti recano una differente versione del volgarizzamento: la prima, in volgare fiorentino; la seconda (più completa e ricca), in volgare veneziano. La differente ampiezza della trattazione e la fisionomia linguistica, unite alle sostanziali e numerose differenze che intercorrono fra le due versioni dell’opera, hanno portato alla decisione di offrire due distinte edizioni, entrambe corredate da un apparato che, oltre a rendere notizia di quanto attestato dai manoscritti, per i singoli loci critici, propone il confronto con l’altro esemplare e, in ulteriore fascia, informazioni di carattere lessicale e lo studio della traduzione e del rapporto con l’originale latino. Nell’Introduzione si propongono le prime sintetiche e necessarie informazioni inerenti i caratteri testuali e la datazione dei testi, la ricostruzione sintetica della fortuna medievale e umanistica dell’Achilleide, lo studio del rapporti tra il nostro testo e la tradizione manoscritta dell’incompiuto poema staziano. Segue poi un capitolo dedicato a un minuto confronto tra le due versioni del testo; si esaminano pertanto, in chiave sinottica, i singoli indici, la presenza /assenza di capitoli o paragrafi dedicati a excursus storici o mitologici, le rispettive aggiunte o variazioni (corrispondenti o meno all’originale latino), i singoli errori in rapporto al testo staziano e, infine, le comuni omissioni. Si aggiungono alcuni approfondimenti in merito allo studio delle relazioni col testo dell’Achilleide, agli interventi traduttivi, alle variazioni e alle rese amplificate, rimandando all’apparato delle singole edizioni, che reca più dettagliata notizia di ogni singolo legame fra i testi. La certezza di un comune ascendente è proposta attraverso uno studio degli errori che concede, per la presenza di due coincidenti e significative lacune, di ipotizzare l’esistenza di un archetipo. A uno spazio dedicato allo studio di altri errori comuni (poligentici e non) seguono due tavole che riportano tutte quelle variae lectiones che si configurano come errate lezioni o omissioni singolari dei due manoscritti (scelta non necessaria, ma dettata dall’esigenza di favorire un più agile confronto tra due esemplari minutamente differenti nella loro parentela). La necessità di stabilire una ipotetica datazione della genesi e della stesura dei due testi ha condotto a due studi linguistici esemplati sul modello delle più recenti edizioni di testi volgarizzati. In particolare, per la versione tradita dal codice fiorentino, si è deciso di condurre un’analisi strutturando le indagini e l’esposizione in chiave diacronica, quindi esaminando i singoli fenomeni linguistici non appena in relazione alla loro natura fonetica, morfologica o sintattica, ma in rapporto al loro periodo di sviluppo e diffusione. All’informazione bibliografica e alla nota al testo segue, infine, un glossario redatto sulla base del testo veneziano, scelta dettata dalla minore diffusione di studi e repertori lessicali inerenti l’area veneto-veneziana e dalla presenza, nel testo volgare, di voci non ancora attestate.

Emendatio vitae was the most widely copied of all Richard Rolle’s writings in fourteenth and fifteenth-century England, and yet in modern scholarship this important work and its early audience have received comparatively little scholarly attention. My aim has been to address this lacuna by producing an edition of one of the seven Middle English translations of the text - Amendinge of Lyf - with notes and glossary. In an introductory study I adopt a dual focus: Rolle’s intended audience, and the actual early readers of this particular Middle English translation. Firstly, I conclude that Rolle may have intended Emendatio vitae as a work of ‘pastoralia’, for secular priests, and therefore with a wider audience of the laity also in mind. This being the case, it demonstrates that the adaptation of traditionally eremitic contemplative writings for a general audience, so widespread in the fifteenth-century, was already stirring in Rolle’s day. Secondly, I look in detail at a specific crosssection of Rolle’s early readership: a translator, several scribes and correctors, and other early readers and owners. The striking thing about this segment of the text’s reception is its breadth, including a priest, a number of prominent lay women and men, and by the end of the fifteenth-century also Dominican and Benedictine nuns.

Selon Berman, une caractéristique de la grande prose consiste à « capter et condenser tout l’espace polylangagier d’une communauté ». Certains écrivains, comme Twain, Faulkner, Steinbeck et Salinger, ont ainsi puisé dans l’ensemble des ressources de l’anglais, pour recréer des parlers vernaculaires ou des idiolectes dits « non standard ». Cette stratégie stylistique, qui engage l’auteur idéologiquement et politiquement, passe souvent mal l’épreuve de la traduction en français. La traduction de ces « écritures-déviances » pose des problèmes spécifiques tout en étant paradigmatique de la manière dont le traducteur s’inscrit dans le texte traduit : ce type de stylisation discursive offre donc une perspective privilégiée pourétudier l’action du traducteur ainsi que les stratégies qu’il met en oeuvre pour véhiculer, dans le texte traduit, le projet sthético-idéologique de l’original. Notre étude s’ouvre sur l’analyse de la nature sociolinguistique de l’anglais non standard, avant d’examiner son emploi en littérature, afin de comprendre le rapport de « tension et d’intégration » qui lie les sociolectes littéraires à la réalité linguistique dont ils sont issus. Nous explorons ensuite les mécanismesqui orientent le travail du traducteur et son traitement des écritures non standard à travers la tradition théorique et pratique de la traduction littéraire, avant d’analyser un corpus de traductions. En nous appuyant sur l’éclairage théorique de la sociologie bourdieusienne et le système analytique des « tendances déformantes » (Berman), nous analysons les stratégies de« ré-énonciation » (Folkart) adoptées par différents traducteurs et les « effets de lecture » qui en découlent
For Antoine Berman, a major characteristic of great prose is its ability to “span the whole linguistic range of a community”. Some writers, such as Twain, Faulkner, Steinbeck and Salinger, have thus drawn on all the resources of the English language in order to recreate vernacular discourse and/or nonstandard idiolects. This stylistic strategy, which expresses theauthor’s particular ideological and political attitudes, is often lost when translated into French. Translating these “deviant” forms of writing poses specific problems while being paradigmatic of the way in which the translator is embedded in the translated text : nonstandard discursive patterns therefore provide a privileged viewpoint from which to study the translator’s action as well as the strategies he uses to transfer the original’s ideological and aesthetical dimensions to the translated text. Our study begins with a sociolinguistic analysis of nonstandard English, before examining its use in literature, in order to understand the dual dialectic of “mediation and emulation” that links literary sociolects to linguistic reality. Wethen explore the practical and theoretical tradition of literary translation to understand what factors affect the translator’s work and his/her approach to nonstandard writing. Finally, we analyse a corpus of translations: using Bourdieu’s sociological theory and Berman’s “systems of deformation” analytical system, we examine the “re-enunciation” (Folkart) strategiesadopted by various translators and the potential readings that result

碩士
國立高雄第一科技大學
應用英語所
95
This paper aims to adopt a bilingual parallel corpus-based approach to investigate the choices made by translators on the Chinese rendering of African-American Vernacular English. In this study, the English-Chinese Parallel Corpus of African-American Vernacular English (PCAAVE) consists of Alice Walker’s use of African-American Vernacular English in The Color Purple and its three Chinese translations in Taiwan by Hui-qian Chang (張慧倩), Zu-wei Lan (藍祖蔚) and Ji-qing Shi (施寄青). WordSmith Tools version 4.0 is first employed to examine the textual length of each translation. Both Chang (52,709) and Lan’s translations (59,869) are longer than the original (52,145). Because of her omission of passages about homosexual relationship, Shi’s translation is shorter than the original. If the passages Shi has omitted are also deleted from Walker’s original, there contains more words in Shi’s translation (50,910) than in the source text (47,944). In order to examine how the three Chinese translators deal with the unique syntactic features of African-American Vernacular English, ParaConc is then utilized to investigate the renderings of seven syntactic features of African-American Vernacular English in the three Chinese translations. The result shows that the three Chinese translators tend to produce a fluent translation with Chinese idiomatical expressions or adverbial phrases, due to the syntactic disparities between African-American Vernacular English and Chinese. The three Chinese translators fail to represent Celie’s African-American Vernacular English. Lawrence Venuti indicates that the domestication strategy often results in a phenomenon that the foreignness of the source text is often minimized. This study suggests that if the characteristics of African-American Vernacular English cannot be manifested in the Chinese translation, translators should inform Chinese readers of the linguistic uniqueness of the fiction in translation preface or postscript.

More than any other period in the history of Western Europe, the Middle Ages were informed by translation. Practices of translation pervaded and underlay every aspect of medieval culture and politics. Yet, our understanding of how medieval writers thought about translation remains profoundly lacking. Most contemporary histories of translation theory choose to neglect the Middle Ages entirely, or to turn them into a footnote to Jerome’s distinction between “sense-for-sense” and “word-for-word” translation. Consuming the Word offers a new approach to medieval translation theory by considering texts, genres, and forms that have been largely neglected by scholars. While most research in this field has concentrated on texts that are regarded as explicitly “theoretical,” such as prefaces, commentaries, and treatises, Consuming the Word extends this investigation to the figurative language of “literary” works: poetical texts written primarily for moral and intellectual edification, aesthetic pleasure, and entertainment. By analyzing an archive of four 14th-century devotional poems composed in Spanish, Italian, and Middle English, this dissertation demonstrates that the writers of the Middle Ages articulated arguments on language, interpretation, and translation whose complexity and originality greatly surpassed the arid and derivative thinking about translation that is generally attributed to this period. Consuming the Word further demonstrates that, by the late 14th century, Christian devotional writers tended to deploy a particular figure to construct arguments on translation, interpretation, and vernacularity: the figure of gluttony. In the first chapter of this dissertation I examine the theories of language and translation conceived by Dante Alighieri in the first decades of the 14th century. I argue that the figures of consumption and gluttony that appear in the last section of Purgatorio are meant to convey a theoretical justification for his use of the vernacular, bringing to fruition several contradictory arguments that are only outlined in his two previous works on the subject: Convivio and De Vulgari Eloquentia. In the second chapter I concentrate on Cleanness, an anonymous and generally overlooked Middle English poem in which the poet ostensibly eulogizes the virtue of purity. By examining its figurative depictions of cooking and feasting, I contend that, rather than as a casual assortment of disparate scriptural episodes, Cleanness should be interpreted as a coherent argument in favor of vernacular translation. On the contrary, in the third chapter I show how a contemporary Middle English poem, the more famous Piers Plowman, relies on the personification of gluttony to disclose an almost antithetical argument. In Piers Plowman, vernacular translation is described as a losing bargain, morally and intellectually detrimental. In my fourth and final chapter, I turn to the celebrated Libro de Buen Amor, to analyze how its figures of eating and overeating convey an argument on the endlessness of all interpretation and on the importance of choice in the act of translating.

La tesi presenta un’indagine sulla ricezione del corpus tragico di Seneca in età umanistica, focalizzandosi in particolare sulle edizioni a stampa (incunaboli e cinquecentine fino all'anno 1514) e sui volgarizzamenti. Il primo capitolo riassume brevemente la circolazione delle tragedie senecane nei codici manoscritti durante il Medioevo. Il secondo capitolo contiene il catalogo e la descrizione delle edizioni a stampa delle tragedie dall'editio princeps (Ferrara, ante 17 dicembre 1478) all'edizione a tre commenti a cura di Josse Bade (Parigi, 5 dicembre 1514). Per ciascuna edizione, si analizzano i paratesti (prefazioni, lettere di dedica, commenti, componimenti poetici, illustrazioni) e si ricostruiscono le identità delle personalità che contribuirono alla pubblicazione (editori, commentatori, dedicatari, tipografi). Le prefazioni e le lettere di dedica sono pubblicate in appendice e corredate di traduzione. Una sezione è dedicata ai commenti umanistici di Gellio Bernardino Marmitta, Daniele Caetani e Josse Bade. Il terzo capitolo propone l’analisi testuale dei cinque volgarizzamenti delle tragedie senecane prodotti fino all'anno 1497. Il primo è contenuto nel poemetto incompiuto «Ippolito e Fedra» di Sinibaldo da Perugia (ante 1384). Il secondo è un volgarizzamento anonimo in prosa di area napoletana (prima metà del Quattrocento). Il terzo è il volgarizzamento in versi di Evangelista Fossa dell'«Agamemnon», stampato a Venezia il 28 gennaio 1497. Il quarto è il volgarizzamento in versi di Pizio da Montevarchi dell'«Hercules furens», inedito, conservato nel manoscritto 106 della Biblioteca Classense di Ravenna, del 1497-1498. Il quinto è il volgarizzamento in versi dell'«Hippolytus», ancora di Pizio da Montevarchi, stampato a Venezia il 2 ottobre 1497. Nella tesi, si pubblicano i testi degli ultimi tre volgarizzamenti individuati. This thesis presents a survey of the reception of Seneca's tragedies between Quattrocento and Cinquecento, focusing on printed editions (incunabula and cinquecentine published until 1514) and vernacular translations. The first chapter summarizes the circulation of Seneca's tragedies in manuscripts during the Middle Ages. The second chapter contains the catalogue and the description of the printed editions of the tragedies from the editio princeps (Ferrara, before 17 December 1478) to the three-comment edition edited by Josse Bade (Paris, 5 December 1514). For each edition, I analyzed the paratexts (prefaces, dedicatory letters, comments, poems, illustrations) and I reconstructed the identities of the personalities who contributed to the publication (editors, commentators, dedicatees, printers). Prefaces and dedicatory letters are published in the appendices with an Italian translation. A section is devoted to the humanistic commentaries by Gellio Bernardino Marmitta, Daniele Caetani and Josse Bade. In the third chapter I focused on the five vernacular translations of Seneca's tragedies produced until 1497. The first is contained in the unfinished poem "Ippolito e Fedra" by Sinibaldo da Perugia (before 1384). The second is an anonymous prose translation produced in the Neapolitan area during the first half of the fifteenth century. The third is the verse translation by Evangelista Fossa of the "Agamemnon", printed in Venice on 28 January 1497. The fourth is the verse translation by Pizio da Montevarchi of the "Hercules furens", preserved in the manuscript 106 of the Classense Library of Ravenna (1497-1498). The fifth is the verse translation of the "Hippolytus", again by Pizio da Montevarchi, printed in Venice on 2 October 1497. In my thesis, I edited the texts of the last three vernacular translations.

abstract: This study examines the ways in which translators writing in two contemporary medieval languages, Old Norse-Icelandic and Middle English, approached the complicated doctrine of the bodily Assumption of Mary. At its core this project is dedicated to understanding the spread and development of an idea in two contemporary vernacular cultures and focuses on the transmission of that idea from the debates of Latin clerical culture into Middle English and Old Norse-Icelandic literature written for an increasingly varied audience made up of monastics, secular clergy, and the laity. The project argues that Middle English and Old-Norse Icelandic writing about the bodily Assumption of Mary challenges misconceptions that vernacular translations and compositions concerned with Marian doctrine represent the popular concerns of the laity as opposed to the academic language, or high Mariology, of the clergy.
Dissertation/Thesis
Doctoral Dissertation English 2014

Considered one of the greatest playwrights of the Spanish Golden Age, Tirso de Molina (1580?-1648) lived something of a double life, alternating—much like the characters in his plays—between two separate and often conflicting lives. Though Tirso, whose real name was Gabriel Téllez, spent the greater portion of his life in the church as a Mercedarian friar, his dramatic output as a playwright was prodigious in scope. Fewer than 90 of his plays survive today, and only a handful have been translated into English. This M.F.A. thesis therefore presents the first-ever English-language translation and adaptation of one of Tirso’s plays, El amor médico, translated as Love the Doctor. The translation/adaptation is preceded by an introduction, as well as by chapters contextualizing the play in the writing of Tirso, the comedia, and the world of seventeenth-century medicine and cross-dressing. The thesis concludes by examining both the translational strategies and artistic choices made at various stages in the process of translating and adapting Tirso’s circa 1621 comedia .

碩士
義守大學
應用英語學系
102
Based on linguistic and cultural references, Taiwanese films are often categorized as non-canonic ones. With the flourishing of Cape No.7 which is released in 2008, Taiwanese films have started reaching international audiences, and the subtitles between multi-linguistic Taiwanese and English have thus become particularly important. In Taiwan, the multilingualism can no longer be ignored. The code-mixing, colloquialism, idioms, cultural-related puns and pop-songs pose the challenge to audiovisual translators, along with certain restrictions which operate in subtitling. Taking Seven Days in Heaven (父後七日) as a case study, this paper will examine the effects of English subtitles on Taiwanese film, and discuss the difficulties associated with culture-related untranslatability in translation. Because of the time and space, subtitle translation is a triggering problem (Díaz, 2007; Egoyan &; Balfour, 2004 ; Gambier, 1997; Gottlieb, 1994 ; Yang, 2008). In order to grasp the insight of audio-visual translation, the data of the specifically-designed questionnaire, completed by 210 students from I-Shou University in Taiwan, will be analyzed, and with the support of translation theories, particular translation strategies will be provided. The translation of subtitle attempts inevitably to bridge the cultural and linguistic gaps. Seeing from this perspective, translation theories and views, such as domestification and foreignization, equivalence, interlinguistic translation, semiotics, polysystem, and descriptive translation, will be further explored, while searching for the solutions to subtitle translation with the cultural bound topics. The purpose of this study is to investigate how English subtitles cater the need of the minority language - Taiwanese. According to Venuti’s (1995) translation theory, it is essential to make a decision of applying domestification or foreignization to help the audience comprehend the movie immediately. Is subtitle translation the continuing life of the movie as Benjamin (1923) proposed? Moreover, which strategy can fulfill the communicative function? And to which level? The issues of rewriting, invisibility of the subtitlers and the continuing life of the source text will be discussed to support our strategic process, designed on purpose for catching the spirit of subtitle translation and for fulfilling its semantic and cultural functions.

碩士
輔仁大學
翻譯學研究所
95
The purpose of this study was to examine the relationship between translation and national literature. I used three books on the history of Chinese literature, Anthology of Yui Fu (樂府詩集) by Guo Maoqian（郭茂倩）, History of Vernacular Literature（白話文學史）by Hu Shih（胡適）, and History of Fiction in Late Qing China（晚清小說史）by A Ying（阿英）, to investigate the relationship between translation and national literature in order to recognize the importance of translation in the history of Chinese literature. The first chapter is an introduction to my study. In this chapter, I will first clarify the position of translation literature, state my research purpose and method, and then give a brief introduction of each following chapter. In my second chapter, I will discuss the influence of translated foreign folk songs on Chinese literature, the translation and adaptation of oral literature, and Guo Maoqian’s ideas of language and nation. I will devote my third chapter to exploring the development of Buddhist translation, Hu Shih’s idea of literature, and the influence of Buddhist translation on Chinese literature. The focus of the fourth chapter is the influence of translated fiction in the late Qing dynasty, the polysystem theory, and A Ying’s ideas of literature and translation. The final chapter concludes my previous discussions, lists the limitations of my study, and then presents recommendations for future research.

Lo studio analizza criticamente l’ambiziosa opera "Pisa. Ein Versuch", composta da Borchardt negli anni dell’esilio italiano e pubblicata nel 1938. La ricerca ha indagato la peculiare ricezione del Medioevo e della sua cultura nell’opera borchardtiana, restituendo importanza al vasto panorama di studi filologici e storici sottesi al testo e, attraverso una solida contestualizzazione, ha evidenziato al contempo l’isolamento intellettuale dell’autore. Colloqui con esperti e docenti delle università di Firenze, Bonn, Parigi e Pisa hanno permesso di definire lo spessore delle competenze linguistiche, filologiche, storiche, letterarie e di storia dell’arte che Borchardt dispiega nel testo e che non erano state debitamente considerate. Grazie alle indagini archivistiche è stato possibile enucleare il peso della lettura filologica delle liriche dei trovatori provenzali che l’autore affianca a una notevole riflessione sull'opera di Giovanni Pisano. La ricerca ha colto così il respiro europeo nel quale si inserisce l’opera borchardtiana. La dissertazione, suddivisa in sei capitoli, esordisce con l’analisi di un testo sulle città italiane in cui l’autore prende posizione a favore di un’immagine dell’Italia la cui intrinseca natura può essere colta soltanto ai margini del processo di modernizzazione. La ricerca ha inoltre sottolineato quanto rilevante sia stata l’ascendenza humboldtiana nella definizione del rapporto fra ambiente naturale e civiltà umana, così cruciale in Borchardt. Lo studio esamina quindi la connessione fra stile architettonico, stile di vita, arte figurativa e poesia mettendo in luce come l’autore comprenda questi aspetti quali diretta emanazione della civiltà imperiale romana. A questo assunto la ricerca collega l’imponente impresa traduttiva affrontata da Borchardt nel trasporre la Commedia dantesca in un tedesco arcaico che dovrebbe restituire l’alterità di Dante rispetto alla cultura moderna. Quindi la dissertazione ricostruisce la genesi di "Pisa, Ein Versuch" a partire dai saggi e dagli interventi pubblicistici della seconda metà degli anni Venti, che convergono nel progetto di fondazione di una nuova “Mittelalterliche Altertumswissenschaft”. Nel circoscrivere i lineamenti di questa nuova disciplina viene opportunamente esaminato il decisivo influsso esercitato da Stefan George sul pensiero e sulla sensibilità poetica di Borchardt. Nella sezione centrale della tesi prende forma la visione borchardtiana di Pisa città imperiale che l’autore oppone al campanilismo comunale inserendola così in una prospettiva sovranazionale tutta proiettata verso il futuro e l'Europa. Al centro di questa analisi troviamo le figure di Arnaut Daniel, Giovanni Pisano e Federico II imperatore del Sacro Romano Impero. Un suggestivo spunto di lettura ha permesso di contrapporre la visione della romanità imperiale, quale ereditata da Pisa, alla coeva visione fascista della romanità, alla quale mai si piegherà il filologo e lo studioso. Nell’ultima sezione viene ricostruita l’immagine del Medioevo proposta da Borchardt che se risente fortemente della lezione di Stefan George e delle sollecitazioni del George- Kreis, si riallaccia tuttavia alla lettura novalisiana dell’Europa medievale. Al contempo lo studio evidenzia in che modo l’analisi che Borchardt propone della Pisa medievale sospinta ai margini del percorso storico, assume tratti fortemente personali: Pisa e la sua “Causa victa” costituiscono di fatto una proiezione autobiografica dell’autore che mette in risalto la vicenda dell’uomo e dell’intellettuale Borchardt nella sua sempre più dolorosa solitudine, fino alla morte che lo coglierà durante la deportazione. This study investigates the ambitious work "Pisa. Ein Versuch" that Rudolf Borchardt composed during the years of the Italian exile and published in 1938. The research aims at returning the significance this writing deserves providing a critical analysis of the peculiar reception of the Middle age and its contemporary culture in Borchardt’s work, focusing on the large philological and historical background underlying the text. The study presents an unavoidable and solid contextualization highlighting the intellectual isolation of the author. Conversations with experts and Professors of the Universities of Florence, Paris Sorbonne, and Bonn enabled establishing the depth of the linguistic, philological, historical and literary knowledge the author deploys in this text, which had not been brought into focus so far. Thanks to a precise archival survey the study has shown the importance of the extraordinary reflection on the Provencal Troubadours that Borchardt carries out by linking their poems to the masterpiece by Giovanni Pisano, hosted in the Duomo of Pisa. The study has thus demonstrated the European profile of Borchardt’s work. The research is divided in six chapters, the first chapter provides both a textual and contextual analysis of a writing Borchardt dedicates to Italian towns, where he strongly identifies the possibility of discovering the true nature of the Italian landscape only at the edge of the incessant modernisation process. The inquiry has highlighted how crucial was for Borchardt the influence of Humboldt’s vision with relation to the definition of natural habitat and human civilization. Furthermore, the research examines all the references Borchardt develops in a network where he associates the Italian architectural style with the Italian life-style, figurative art with poetry and shows to what degree all these aspects of the Italian culture and life are derived from the Imperial Roman society. The connection with the Latin culture conducts the research to examine the impressive work of translating the “Divina Commedia” into a medieval archaic German, language that Borchardt himself created, in order to highlight the alterity of Dante in relation to modern culture. The study reconstructs the genesis of the text “Pisa. Ein Versuch” starting from the essays and the public speeches Borchardt held during the second half of the Twenties, all of which converge on the project of the constitution of a new “Mittelalterliche Altertumswissenschaft”. In specifying the features of this new discipline, the study provides an extensive examination of the influence exercised by Stefan George on the thought and on the poetic sensitivity of Borchardt. The central section of the research outlines and discusses Borchardt vision of Pisa as imperial town, opposing the communal parochialism to a multinational or extranational vision that projects Pisa into the future and towards Europe. At the centre of this idea are the characters of Arnaut Daniel, Giovanni Pisano and the Holy Roman Emperor Frederick II. A suggestive reading made possible a confrontation aimed at opposing the conceptual framework of the imperial Romanitas as inherited by Pisa, to the contemporary fascist vision of the Romanitas whose historical ideal the philologist and cultivated author would never accept. The last section of the study discusses the image of the Middle age that Borchardt proposes in his book, showing that if the influence of George and the George-Kreis is clearly evident, Borchardt’s ideal is much more connected to the notion of medieval Europe as evoked by Novalis. At the same time, however, he marks a break with the external influences, proposing a personal interpretation of the story of Pisa, a town that political events has driven to the margins of history and now takes on personal aspects of the author: Pisa and its “Causa victa” embody the biographical condition of the author, evidencing the human drama of Borchardt both as an intellectual and as a man in his more and more sorrowful loneliness, until death took him during the deportation towards Germany.