Letteratura scientifica selezionata sul tema "Pandi, 1950- – Translations into English"

Abstract The present research analyses Hungarian and English target-language translations of contemporary Finnish poems. The translation solutions of culturally-bound lexical elements are compared in both Finnish-Hungarian and Finnish-English translation directions. The analysis is carried out using a text corpus comprising Hungarian and English translations of Finnish poems published after 1950. The text corpus consists of 160 Finnish source poems and their 160 Hungarian and 160 English target-language translations. The objective of the research is to reveal the cultural aspects of the translation of poetry and to answer the question as to what types of translation solutions literary translators use when translating culturally-bound lexical elements in Finnish poems into Hungarian and English. Results show that English-language translators of contemporary Finnish poems more frequently use translation solutions which are less creative and do not stray far from the original source language text. Hungarian translators, on the other hand, are more courageous in deviating from the source text and adapting their translations to the target language. This can be explained by reference to the two translation contexts or as a result of genre-specific reasons.

Abstract This article focuses specifically on two examples of fantasy stories and their translations into Russian: The Lion, the Witch, and the Wardrobe (Lewis 1950), a classic English fantasy story, and Harry Potter and the Philosopher’s Stone (Rowling 1997), a modern blending of fantasy with the traditional English school story. The analysis shows that the approach to translation is largely random. In the translations of The Lion, the Witch and the Wardrobe, there is some evidence of simplification as a strategy, and some confusion over the appropriate translation of cultural items in the translations of Harry Potter and the Philosopher’s Stone. Generally, however, the translators are shown not to have attempted to situate the stories in a Russian context, and have retained intact both the cultural backdrop and the moral values put forward in the works. A study of the reception of such works by young readers would provide valuable information about the success or failure of the translations discussed in this article.

A different name than English literature, ‘Anglo-Indian Literature’, was given to the body of literature in English that emerged on account of the British interaction with India unlike the case with their interaction with America or Australia or New Zealand. Even the Indians’ contributions (translations as well as creative pieces in English) were classed under the caption ‘Anglo-Indian’ initially but later a different name, ‘Indo-Anglian’, was conceived for the growing variety and volume of writings in English by the Indians. However, unlike the former the latter has not found a favour with the compilers of English dictionaries. With the passage of time the fine line of demarcation drawn on the basis of subject matter and author’s point of view has disappeared and currently even Anglo-Indians’ writings are classed as ‘Indo-Anglian’. Besides contemplating on various connotations of the term ‘Indo-Anglian’ the article discusses the related issues such as: the etymology of the term, fixing the name of its coiner and the date of its first use. In contrast to the opinions of the historians and critics like K R S Iyengar, G P Sarma, M K Naik, Daniela Rogobete, Sachidananda Mohanty, Dilip Chatterjee and Gayatri Chakravorty Spivak it has been brought to light that the term ‘Indo-Anglian’ was first used in 1880 by James Payn to refer to the Indians’ writings in English rather pejoratively. However, Iyengar used it in a positive sense though he himself gave it up soon. The reasons for the wide acceptance of the term, sometimes also for the authors of the sub-continent, by the members of academia all over the world, despite its rejection by Sahitya Akademi (the national body of letters in India), have also been contemplated on. References Alphonso-Karkala, John B. (1970). 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Abstract Modern Chinese took the place of classical Chinese and has been the standard form of writing since the early 1920s. While several studies have been carried out on diachronic variation in modern written Chinese, these include few aggregate investigations. This study examines the diachronic variation in modern Chinese writings and translations from the 1900s to the 2000s. Frequencies of multiple linguistic features sensitive to historical change were drawn from a multi-genre comparable corpus, ‘DCMCWT’, containing five periods: 1900–1911, 1919–1930, 1931–1949, 1950–1966, and 1978–2012. Hierarchical agglomerative clustering was employed for periodisation, while multidimensional scaling supplemented the developmental path. The results suggest that Chinese writings and translations fall into three broad periods: 1900–1911, 1919–1966, and 1978–2012. Chinese translations follow a similar evolutionary path as the writings, and the gap between them, narrowed from 1900 to 2012. This developmental path corresponds to the socio-historical backgrounds in Chinese history and shares similarities and differences with the development of English. Diachronic variation in early modern Chinese mirrors that of English in that both languages developed to be more colloquial and interactive. However, early modern Chinese is different from English, as diglossia has played a crucial evolutionary role.

This paper, which deals with drama translations in Spain (English-Spanish) from 1950, presents the results of a four-stage analysis carried out on a large corpus of translated plays. Starting from the assumption that theatre is part of the field of drama (which includes cinema and television, among other spectacles), and taking into account drama’ś inherent specificity (written to be performed), as well as its peculiar structure (dialogue versus prose) this study on translated drama posits, as a starting point, an inherently dramatic unit (réplica) which is instrumental in describing and comparing drama texts, be they translated or not. Starting from an outline of the four-stage process adopted, this paper elaborates fundamentally on extreme cases of translation strategies (addition, deletion and adequacy), found to have been applied in each of the three extreme cases studied, relating them with a previously uncovered twofold characterization (into reading and acting editions) of the translations under scrutiny.

This article presents a comparative analysis of six translations of Anne Frank's Het Achterhuis into German, English, and French. This includes the history of its editions from the first Dutch edition published in 1947 to the 1986 critical edition of the Diaries and later Het Achterhuis editions. The translation analysis focuses on aspects related to the cultural and historical context, e.g. the use of annotations and the representation of anti-German comments made by Anne Frank. With regard to the latter, the first translation into German (1950) is partly re-assessed: not all these comments were eliminated or toned down by the translator Anneliese Schütz, who worked in close co-operation with Anne Frank's father Otto Frank.

Studies of Judith represent three overlapping but distinct periods of critical inquiry. Interests were awakened (1913-49), as three firsts in English wit ness: Charles's comprehensive APOT (1913), Oesterley's two one-volume introdutions to the Apocrypha (1914, 1935) and Pfeiffer's critical introduc tion (1949). In a second period (1950-85), Judith's context undergoes remarkable shifts both within the Bible and the wider community with the inclusion of the Apocryphal/Deuterocanonical Books in translations like the RSV and NRSV, text-critical editions, literary analysis, initial feminist studies, and collaborative alliances of Protestant, Catholic and Jewish scholars. In a third period (1986-2001), critical strategies enlarge to represent increas ingly gender-inclusive, interdisciplinary, international and eclectic concerns.

The main aim of this essay is to analyse the translations and reviews of English poetry that appeared in three representative literary journals of post-Civil War Spain: Escorial (1940-1947), Espadaña (1944-1950) and Cántico (1947-1949;1954-1957). The proportion of articles and translations, characteristics and scholarly seriousness of the sections devoted to this topic will give evidence of the ideological background of each of the three publications. We will study the reasons that led to the various choices of both poets and translators and this will also be an aid to our inquiry into the political and aesthetic assumptions of these journals. During the 1940’ś and 50’ś, literary reviews were the place where many Spanish intellectuals and scholars could more or less openly express their different reactions towards Franco ś dictatorship. And — as professor Rubio (1976) has pointed out — as far as ideological involvement was concerned, there were two main types of journals: the “eclectic” and the “confessional”. Within the “confessional” type, Escorial would voice the official dogma whereas Espadaña would stand for the impatient detractors of the règime, the so called “tremendistas”. As for Cántico, this journal was an example of the “eclectic” position, since it welcomed all kinds of aesthetic and political creeds. The three reviews will be examined altogether as a paradigm of the literary situation in Spain, during the years of ideological censorship and intellectual involution that followed the Civil War.

This thesis seeks to investigate how translation is influenced by the translator's contexts, dealing with English translations of Homer between 1850 and 1950. English versions of the Iliad and Odyssey by eight translators from different periods are examined chronologically in their historical contexts, with reference to social, political and ideological circumstances. My methodology involves making use of translators' metatexts and other types of texts in combination with comparison of the translated texts. The debate between Matthew Arnold and Francis Newman reveals conflicting ideologies in the nineteenth century: the former committed to promoting a noble template for his society, the latter seeking to reproduce with exacting standards what he perceived as the true peculiarity of the poet. This ideological opposition is reflective of the intrinsic link between translators' interpretations of Homer and attitudes toward translation, and the Victorian age, in social, ideological and political terms. The thesis continues with two more Victorian translators William Morris and J. S. Blackie, focusing on the practice of archaism. Morris translated the Odyssey within a widespread movement of medieval revival. The same applies to Blackie's translation of the Iliad, but his medievalism was connected to the issue of Scottish identity. They idealised history and expressed their vision literalistically through archaising. The focus then changes to examine modernist versions of the Odyssey by Ezra Pound and H. D. Their fragmentary translations were good examples of the modernist project to achieve novelty and originality. Homer represented 'tradition' to engage with in order to pursue the ambition to, in Pound's famous expression, 'make it new'. The modernists took translation as an implement for revisiting the literary tradition. Lastly, this thesis explores mid-twentieth century prose translations by E. V. Rieu and I. A. Richards. Influenced by the egalitarianism of mid-twentieth-century Britain, they attempted to make their translations accessible to everyone. These translations of Homer were targeted at the 'general reader', and for that purpose, Rieu and Richards transformed Homer's originals into novels.

This study focuses on comparing two different versions of Pippi Longstocking translated into English on a structural level. With the help of the research of the known linguistics John Catford and Paul Vinay & Jean-Louis Darbelnet, we compare how the two different translators, Tiina Nunnally (2007) and Florence Lamborn (1950) have translated the same book. This study compares these two translations for grammatical features and word choices on a structural level, for example use of verb tense and differences in Vinay & Darbelnet’s modulation. It also studies how the translators have done differently regarding Catford’s structural shifts. The essay also briefly looks at the cultural differences between the countries and how they have been translated. The aim of this project is not to determine which translation is better, but to compare and describe any differences and similarities found. It will look at how the two translators have handled the same problems differently (or similarly). The translations by Florence Lamborn and Tiina Nunnally have much in common, but in our result and analysis we present the differences.

More importantly, the possibility is explored that this critical methodology can be employed to examine the translations of DDJ produced in other periods, so as to ask and answer questions of the representation of the source text and the construction of the translator’s identities. This thesis is organized into nine chapters. Chapter 1 reviews the literature on the study of translations of DDJ, and discusses the issues arising from approaches discussed above. Chapter 2 sets out the theoretical framework within which to pursue the line of inquiry proposed by this thesis. Chapters 3 to 8 provide detailed analyses of the representations of the six translations under study, and discuss the construction of the translator’s identity in each of these translations. Chapter 9 provides a summary of the findings, and suggests potential avenues for future research ;自1868年以来，到2011年为止，至少产生了143个《道德经》英译本，大部分译本都附有序言、评论、注释等副文本。Julia M. Hardy以及受其影响的学者将20世纪上半叶《道德经》英译的道家阐释总结为：一种可以帮助西方反思、批评或解救西方文化危机的东方智慧。但是本研究发现，此结论与已有的一些研究成果并不完全相符。不完全相符的原因在于，以往研究在总结某个时期的译本道家阐释时，未能批判使用“历史分期和“译者背景这两种研究途径来选择译本和阐释译本内容；而在这背后主导这两种研究途径的是均质、统一、连续、进步的历史观，以及离具体历史语境的、单一、固定的身份观。 针对以上《道德经》英译的研究途径问题，本研究将引入Michel Foucault（1972/2002）所提出的异质、断裂的历史观，以及Stuart Hall（1990，1992，1996）主张的历史构建的，变化的，复杂的身份观。在这两种理论视角之下，结合Hall（1997）的表征概念和Foucault（1981）的话语概念，来考察20世纪上半叶（1936年-1950年）所有中国译者的6个英译本，并将译文及与之相关的副文本结合起来，分析道家思想在这些译本中是如何被表征的，以及译者在表征过程中是如何构建其身份的。 本研究发现，在6个译本分析中，其中3个译本在不同程度上符合以往研究所总结的这一时期的道家阐释一种可以帮助西方反思、批评或解救西方文化危机的东方智慧；而其余三个译者则使用其他各种话语建构出完全不同面貌的道家思想；并且6个译者身份有着与其背景极为复杂的融合、排斥和转化关系，构建出一种变化、复杂，历史构建的译者身份。因此，“历史分期或“译者背景仍然可以作为研究的起点确立研究《道德经》英译史的范围，但需要批判地使用，从副文本出发结合与之紧密相关的正文考察译本表征和译者身份。更为重要的是，在后续的《道德经》英译史研究中，可以将这一方法去进一步考察其余各个时期和（或）有着某种译者背景的译本，揭示可能存在的译本表征和译者身份的多样性和复杂性。 全文共分九章。第一章为绪论，介绍《道德经》英译研究背景和研究现状，并反思均质、连续历史观和非历史身份观所带来的问题。第二章为理论框架，运用Foucault和Hall的相关理论思想来继续探讨这些问题。第三章到第八章将逐章详细分析每一个译本的道家表征，再据此探讨各个译者身份的构建。第九章为本研究结论和意义。 =During the period 1868-2011, at least 143 English translations of the Daoist classic Dao De Jing (DDJ) were published, most of which were accompanied by a preface, commentary, annotation or other paratexts. Julia M. Hardy, whose work has exerted great influence on many scholars, has concluded that the translations of DDJ produced during the first half of the twentieth century were intended to provide a kind of eastern wisdom capable of helping the West to examine, critique or save its own culture, which was perceived to be in a state of crisis. However, a review of the literature suggests that Hardy’s conclusion has limited applicability, and it is argued here that this limited applicability can be attributed to the problematic use of periodization and background information about translators, which reflects an uncritical application of methodologies informed by a historical perspective that stresses homogeneity, unity, continuity and progress, as well as by a view of identity as non-historical, single and fixed. To address issues arising from the application of these methodologies to the study of translations of DDJ, this thesis adopts a historical perspective informed by Michel Foucault’s (1972/2002) discussion of heterogeneity and discontinuity, and follows Stuart Hall’s (1990, 1992, 1996) view of identity as historical, unfixed and complicated. With reference to Hall’s (1997) discussions about representation and Foucault’s (1981) discussions about discourse, thesis will examine all the six English translations of DDJ, along with the paratexts, published between 1936 and 1950, with a view to investigating how Daoism is represented in each of these translations and how the translators’ identities are constructed in the process of representing DDJ. Investigation shows that, of the six translations, three translations are to different degrees consistent with the conclusion drawn by previous studies that Daoism is treated as an eastern wisdom capable of helping the West to examine, critique or save its own culture. In the other three translations, however, Daoism is presented quite differently, with reference to various discourses. Moreover, the six translators’ identities are intricately related to their social, cultural or educational backgrounds. They may be integrated, excluded, and (or) transformed, as complex, provisional identities are constructed in historical contexts. These findings, to some extent, suggest that translators’ backgrounds and periodization can be critically employed as a starting point for demarcating the scope of study. However, such approaches should be supplemented by a thorough and systematic examination of paratexts.

During the nineteenth century Chinese scholars began critiquing the traditional accounts of the Yijing’s nature and composition—a process of “historicizing” the Yi that continues today. A major innovation has been the realization that the earliest textual levels of the Yi were written during the Bronze Age of China and reflect the language and concerns of that period—kingship, war, etc.—rather than the Confucian concern with moral guidance seen in the appendices and read back into the early parts. Nevertheless, the first widely read English translations, those of James Legge (1899) and Richard Wilhelm (1950, from his 1924 German translation and including an influential foreword by C. G. Jung), were unaware of these discoveries, perpetuating the view of the Yi as a book of universal wisdom. This led to its worldwide appeal, including influences on Western art, music, and scientific theory. Not until the late twentieth century did the first English translations of the Yi as a Bronze Age document appear.

Abstract The traditional litany on the history of the medical uses of electricity, beginning with the Roman use of electric fish to treat headaches (Harms, 1956; Sandford, 1966; Brandon, 1981), is simply beside the point; electroconvulsive therapy (ECT) evolved solely as a result of Ladislaus von Meduna’s original investigations on the effects of camphor-induced convulsions in schizophrenic patients. It is the chronology of the medical (and specifically, psychiatric) uses of convulsions that provides the appropriate historical perspective to his work. This chapter draws extensively, and often without specific attribution, from the excellent historical reviews of the subject by Mowbray (1959), Sandford (1966), Fink (1979, 1984), Brandon (1981), Kalinowsky (1982, 1986), Endler (1988), and Endler and Persad (1988); from Cerletti’s (1950) personal recollections; from the English translations of the autobiography of Meduna (1985); from Accomero’s (1988) eyewitness account of the discovery of ECT; and from my own numerous conversations over 25 years and my published interview with Lothar Kalinowsky (Abrams, 1988a).