Tesi: "Translations"

1

Oliveira, Mariana Lessa de. "Translating ireland : Brian Friel's Translations beyond words". reponame:Biblioteca Digital de Teses e Dissertações da UFRGS, 2013. http://hdl.handle.net/10183/114839.

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Encenada pela primeira vez em 1980 em Derry, na Irlanda do Norte, pela Companhia de Teatro Field Day, Translations de Brian Friel é considerada um marco na história teatral irlandesa, suscitando diversas interpretações e análises que abrangem diversos campos de estudo: do pós-colonialismo aos estudos de linguagem. O foco desta dissertação é o estudo da linguagem dentro da criação artística na Irlanda, tanto na formação do teatro irlandês como na formação da literatura irlandesa, tendo como objetivo a leitura de Translations como uma metáfora para a criação da literatura irlandesa como um todo. O presente trabalho também propõe uma tradução da peça para o português brasileiro e é dividido em três capítulos com o objetivo de: 1) apresentar a peça e as discussões que circundavam o contexto de sua criação, assim como a recepção da peça por jornais e estudiosos literários; 2) apresentar uma breve história da criação do teatro nacional irlandês a partir da fundação do Irish Literary Theater em 1897 pelo dramaturgo e poeta W.B. Yeats e comparar a fundação da Companhia de Teatro Field Day, além de situar Translations dentro da tradição iniciada no século XIX. Ademais, o segundo capítulo também trata sobre a criação literária na Irlanda e a relação de escritores com a língua de produção, inglês ou irlandês, tentando traçar comparações entre estes e os personagens da peça; 3) apresentar traduções da peça para o irlandês, grego, italiano e português brasileiro assim como apresentar reflexões sobre a tradução aqui proposta. O presente estudo se utiliza de teorias sobre estudos irlandeses de teóricos como Declan Kiberd, teóricos do teatro como Christopher Murray, Scott Boltwood, além dos textos publicados pela própria companhia Field Day. Também foram utilizadas extensivas pesquisas em jornais irlandeses e colunas de escritores no que tange a língua de criação. A base bibliográfica utilizada é variada a fim de que se possa chegar ao objetivo deste estudo: apresentar uma leitura em que Translations não seja lida como a morte da língua irlandesa, mas como o renascimento de uma língua que incorpora a língua inglesa, formando uma terceira língua de criação para a arte literária irlandesa.
First staged in 1980 in Derry, Northern Ireland, by the Field Day Theater Co., Translations is considered a milestone in the history of Irish theater, bringing up various interpretations and analysis, from post-colonial to language studies. The present research aims at studying language as a tool in the crafting of a national art in Ireland, especially in the foundation of a theater and in the creation of a literary tradition, presenting Translations as a metaphor for this process. This study presents a possibility for the translation of the play and is divided in three main parts: 1) a presentation of the play and the discussions surrounding the time of its creation as well as the reception of critics and scholars; 2) a brief presentation of the history of the Irish national theater starting by the foundation of the Irish Literary Theater in 1897 by W.B. Yeats, and a comparison with the foundation of the Field Day Theater Company where their first production, Translations, stands in the tradition started in late 19th century. Besides that, the second part also presents some periods in Irish literature and the relation between writers and the language of production: English or Irish, comparing this relationship to the one found amongst characters in the play; 3) analysis of the translations the play has received to Irish, Greek, Italian and Brazilian Portuguese as well as reflections on the process of translating the play. The following study uses theories in Irish studies such as the ones by Declan Kiberd, theater scholars such as Christopher Murray and Scott Boltwood and texts published by Field Day. Newspapers columns and articles were also researched for this study, especially when concerning the language of literary production in Ireland. The main objetive of this study is to present a reading of the play that does not refer to the death of a language, but to the rebirth of a new Irish language incorporated in the English language, a third language used in the creation of Irish art.

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2

Rude, Mathew Ben. "Translations". Thesis, Montana State University, 2007. http://etd.lib.montana.edu/etd/2007/rude/RudeM0507.pdf.

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Form, line, and surface are the catalysts for my work. I have been constructing nonrepresentational forms from clay that I see as translations. They are reflective of my conversation with the material and a record of the firing. The pieces in the installation do not reference any specific object. They are my attempt to explore volume, line, scale, and repetition in objects designed to translate the process of wood firing. They are about physicality, passion, and process. Each object becomes an individual variation of the total process. Most forms and objects created in art have some reference to some other preexisting object and can have any variety of meanings attached to them. I know the viewer will create their own meaning and metaphor for this installation. My intention is to leave the specifics up to the viewer.

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Al, Ghannam Abdulaziz G. "IDEOLOGY IN MEDIA TRANSLATION: A CASE STUDY OF MEMRI's TRANSLATIONS". Kent State University / OhioLINK, 2019. http://rave.ohiolink.edu/etdc/view?acc_num=kent1573219601907084.

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4

Flavia, Aiello Traore. "Translating Culture: Literary Translations into Swahili by East African Translators". Universitätsbibliothek Leipzig, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-137419.

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Lengo la makala hii ni kujaribu kufafanua jinsi wafasiri walivyotafsiri kwa Kiswahili baadhi ya riwaya zilizoandikwa kwa lugha za kigeni, enzi za baada ya nchi za Afrika kujipatia uhuru. Kwa ajili ya mada yenyewe nimechagua mkusanyo wa riwaya nne zilizotafsiriwa na Watanzania, yaani Shamba la wanyama (kilichoandikwa na Fortunatus Kawegere, 1967), Shujaa Okonkwo (Clement Ndulute, 1973), Mzee na bahari (Cyprian Tirumanywa, 1980) na Barua ndefu kama hii (Clement Maganga, 1994). Wafasiri hao walikabiliana vipi na vipengele vya kitamaduni vya lugha chanzi (za jamii zenye maisha, dini, misemo, methali tofauti na yao n.k.)? Kwa kuzingatia swali hilo, makala inaeleza baadhi ya mbinu zilizotumiwa na watafsiri wa Kiswahili wakishughulika na maandishi kutoka kwa fasihi ya kigeni.

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5

Baumgarten, Stefan. "Translation as an ideological interface : English translations of Hitler's Mein Kampf". Thesis, Aston University, 2007. http://publications.aston.ac.uk/14863/.

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The present thesis is located within the framework of descriptive translation studies and critical discourse analysis. Modern translation studies have increasingly taken into account the complexities of power relations and ideological management involved in the production of translations. Paradoxically, persuasive political discourse has not been much touched upon, except for studies following functional (e.g. Schäffner 2002) or systemic-linguistic approaches (e.g. Calzada Pérez 2001). By taking 11 English translations of Hitler’s Mein Kampf as prime examples, the thesis aims to contribute to a better understanding of the translation of politically sensitive texts. Actors involved in political discourse are usually more concerned with the emotional appeal of their message than they are with its factual content. When such political discourse becomes the locus of translation, it may equally be crafted rhetorically, being used as a tool to persuade. It is thus the purpose of the thesis to describe subtle ‘persuasion strategies’ in institutionally translated political discourse. The subject of the analysis is an illustrative corpus of four full-text translations, two abridgements, and five extract translations of Mein Kampf. Methodologically, the thesis pursues a top-down approach. It begins by delineating sociocultural and situative-agentive conditions as causal factors impinging on the individual translations. Such interactive and interpersonal factors determined textual choices. The overall textual analysis consists of an interrelated corpus-driven and corpus-based approach. It demonstrates how corpus software can be fruitfully harnessed to discern ‘ideological significations’ in the translated texts. Altogether, the thesis investigates how translational decision-makers attempted to position the source text author and his narrative in line with overall rhetorical purposes.

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6

Steyn, Johanna E. T. "'n Direkte vertaling versus 'n abbavertaling met verwysing na kulturele oordrag". Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86259.

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Thesis (PhD)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: Most Afrikaans novels that are translated into French are piggyback or relay translations, which means translations of translations. Although piggyback translations have been done since the earliest times and are still being done, they are at best seen as a necessary evil and little research is done on this phenomenon – in fact so little that there is not even a uniform term among scholars to refer to this practice. Translation is the ideal space for different cultures to meet and interact, especially when the translation strategy is to foreignise by retaining cultural elements form the source culture in the translated text. Each translation is however adapted to a certain extent to its own target culture in order for the target public to have a better understanding of the text. When a translator works directly with the source text, he is in control about the way in which cultural references will be conveyed and explained to the target public. In the case of a piggyback translation the translator has to translate a “source text” that has already been adapted, or not, for a specific target public. The piggyback translator has to deal with a text where some cultural references might have been retained and others not. If the piggyback translator has no first-hand knowledge of the source culture, it means that he will not be able to distinguish which references have been adapted, nor to what extent they have been adapted. This study is an investigation into the French translations of two novels by Etienne van Heerden, namely Toorberg and Die swye van Mario Salviati. Le Domaine de Toorberg is a piggyback translation of Toorberg and Un long silence has been translated directly from the Afrikaans source text. The aim is to determine in which of the two French translations cultural transfer was the most successful. In translation studies great emphasis is placed on the fact that translators should not only be bilingual, but also bicultural, which means that the translator should understand both source and target cultures. In the case of the direct translation investigated here, the translator is not only bilingual, but he shows a South African and French biculturality. In the case of the piggyback translation however, the translator’s cultures are French and North American. This means that the piggyback translator has no first-hand knowledge of the source culture with the result that the cultural references are unknown to her. I hope to determine through this study whether piggyback translations are a viable method to present Afrikaans novels to (in this case) French readers and if not, whether alternative methods should be investigated, for example using translators who do not necessarily translate into their first language, as often suggested in translation studies.
AFRIKAANSE OPSOMMING: Die meeste Afrikaanse romans wat in Frans vertaal word, is abbavertalings, dit wil sê, vertalings van vertalings. Alhoewel abbavertalings reeds vanaf die vroegste tye gedoen word en steeds gedoen word, word dit ten beste gesien as ŉ onvermydelike euwel en daar word min navorsing oor hierdie verskynsel gedoen – so min dat daar nie eens onder teoretici ŉ eenvormige term bestaan om daarna te verwys nie. Vertaling is ŉ ideale ruimte waar verskillende kulture mekaar kan leer ken, veral wanneer daar vervreemdend vertaal word en kulturele elemente van die bronkultuur in die vertaling behou word. Elke vertaling word egter tot ŉ mindere of meerdere mate aangepas vir sy eie doelkultuur sodat die teikenpubliek die teks beter kan begryp. Wanneer ŉ vertaler direk met die bronteks self werk, het hy beheer oor die manier waarop kulturele referente oorgedra en verduidelik gaan word aan die teikenpubliek. In die geval van ŉ abbavertaling moet die vertaler egter ŉ “bronteks” vertaal wat reeds aangepas is vir ŉ spesifieke teikenpubliek, wat kulturele ooreenkomste toon met sy eie teikenpubliek, of nie. Die abbavertaler het dus te doen met ŉ reeds aangepaste teks waarin sommige kulturele referente behou is en ander nie. Indien die abbavertaler geen eerstehandse kennis het van die bronkultuur nie, beteken dit dat hy nie kan onderskei watter referente aangepas is nie, en ook nie tot watter mate hierdie referente aangepas is nie. In hierdie studie word ondersoek ingestel na die Franse vertalings van twee romans van Etienne van Heerden, naamlik Toorberg en Die swye van Mario Salviati. Le Domaine de Toorberg is ŉ abbavertaling uit die Engelse vertaling van Toorberg en Un long silence is direk uit die Afrikaanse bronteks vertaal. Die doel is om vas te stel in watter een van die twee Franse vertalings kulturele oordrag die suksesvolste plaasgevind het. In vertaalteorie word daar deesdae klem gelê op die feit dat vertalers nie net tweetalig moet wees nie, maar ook bikultureel, dit wil sê die vertaler moet die bron- sowel as doelkultuur verstaan. In die geval van die direkte vertaling wat in hierdie studie bestudeer is, is die vertaler nie net tweetalig nie, maar hy het ook ŉ Suid-Afrikaanse en Franse bikulturalteit, maar in die geval van die abbavertaling het die vertaler ŉ Franse en Noord-Amerikaanse kultuurkombinasie. Dit beteken dat die abbavertaler geen eerstehandse kennis dra van die bronkultuur nie met die gevolg dat die kulturele referente vir haar vreemd is. Ek hoop om deur hierdie studie vas te stel of abbavertalings wel ŉ lewensvatbare metode is om Afrikaanse romans (in hierdie geval) aan ŉ Franse leserspubliek bekend te stel, en indien nie, daar alternatiewe metodes is wat ondersoek behoort te word, byvoorbeeld deur vertalers te gebruik wat nie noodwendig, soos die vertaalteorie meestal voorskryf, in hulle eerste taal vertaal nie.

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7

Levenson, Sean I. "Translational Wit: Seventeenth-Century Literary Translations of Selections from Ovid’s Heroides". Digital Commons @ East Tennessee State University, 2012. https://dc.etsu.edu/etd/1429.

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The purpose of this thesis is to uncover the meaning of the difference between original versions and translations of two texts from Publius Ovidius Naso's Heroides, "Phyllis to Demophoon" and "Phaedra to Hippolytus." The first chapter describes John Dryden's system of translational practices and some theoretical issues surrounding literary translation and its critical interpretation. Even though translations have connections to the source text to some degree, each product of translation is a literary artifact on its own. The second chapter uses three translations of "Phyllis to Demophoon" by respectively Wye Saltonstall, Edward Pooley, and Edward Floyd as case studies demonstrating the variety of literary works that can originate from a single source text. The third chapter interprets Thomas Otway's translation of "Phaedra to Hippolytus" against Ovid's original in order to reveal the extensive presence of a certain characteristic irony in Otway's text. Otway also effectively translates Ovid's witty subtext.

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8

Etter, Ian. "Telemetrics: drawing translations". Thesis, University of Iowa, 2013. https://ir.uiowa.edu/etd/2489.

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Telemetrics: Drawing Translations began with charcoal drawings on paper, which were then converted into digital information, and finally re-rendered by three-dimensional software. This series of translations allow for a close exploration of the drawing's topography that is similar to the viewpoint of an exploratory rover. The imagery from this digital landscape was collected, exported, and translated into the mediums of print, painting, and video. This body of work was developed in reference to the telemetric systems that are currently in use to explore the cosmos. Space telescopes convert a physical stimulus (light) into electrical signals, or raw data. In order to be analyzed and understood, that information must be converted into a file that can be read over multiple representational platforms, both numerically and visually. Interpreting these data requires translation, which occurs at several levels as the astronomers prepare the data for interpretation. The resultant images, especially those presented to the public, have gone through several stages of adjustment for both informative and aesthetic reasons. In Telemetrics: Drawing Translations, the drawings function as the phenomena of the universe, all of that which can only be understood through telemetric analysis. The drawing's primacy in this system is established through its physicality, level of resolve, and the amount of interpretable information it contains. The derivatives of the drawings mirror the entropic nature of translating information across formats. Tone, contrast and an emphasis on the physical manipulation of material in the drawings formally reference the Rocky Mountain School paintings of the American West. The paintings of Thomas Moran, Albert Biertstadt, Thomas Hill and others allowed viewers to experience the sublime through an environment that was distant and imagined. It is in a similar way that telemetric systems allow us to experience otherwise untouchable places, even if the representations of these far off places is exaggerated or inaccurate.

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Weyland, Sandra. "Translation models and model translations : a journey across languages, time and cultures". Thesis, University of Aberdeen, 2000. http://digitool.abdn.ac.uk:80/webclient/DeliveryManager?pid=217102.

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This thesis studies the effectiveness of existing translation models in the context of everyday translation and proposes a new translation model. The thesis reviews a number of approaches to the process of translation from the Roman times to the present before focusing on contemporary translation theory and the representation of the translation process by means o f translation models. The thesis introduces - and comments on - a number of existing translation models and then proceeds to develop a new model of the process, which aims to present a more holistic view of the process than the models discussed. The second part of the thesis concentrates on the testing of the model. Two very practical tests are applied to the model in order to assess the accuracy of the representation and the usability of the model in the context o f everyday translation. The first test applied to the model has, however, another function. It aims to provide a contemporary readership with a readable English translation of a Renaissance Latin text, the first book of the Instructiones historico-theologicae de doctrina Christiana et vario rerum statua temporibus Apostolici, ad tempora usque seculi decimi septime prior a (1645) by John Forbes o f Corse. This enables a wide audience with very little or no knowledge o f Latin to gain access to the complex theological argument contained in the specimen text. The commentary on the English translation, and on extracts of the German and French translations of this work serves to test the applicability of the model in the context of translation into more than one language. The second test concentrates on the translation from English into German and German into English. For this test, two groups of students from the Universities of Trier and Rostock in Germany were asked to carry out the same translation exercise. The study o f the work received from these students allows me to assess the usability o f the model as a guideline for translators. The thesis concludes by saying that the model has proved successful on both occasions, and by offering suggestions for further study.

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Eichel, Andrew Timothy. "Translating Anglo-Saxon poetry : foreignized translations of "The seafarer" and "The wanderer" /". View online, 2009. http://repository.eiu.edu/theses/docs/32211131566903.pdf.

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11

Sin, Hoi Lam Carolina. "Translating rhetorical devices :a case study of translation of advertising slogans". Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3954269.

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NG, Choi Yung. "Why get lost in translation? On the English translations of Wen Yiduo's poems". Digital Commons @ Lingnan University, 2015. https://commons.ln.edu.hk/tran_etd/14.

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The debate over the translatability of poetry has been a long-standing issue for decades. Relatively few discussions, however, have focused on the concrete reasons of poetry being translatable (or untranslatable). Moving beyond traditional ways of elucidating the matter through theoretical argument, this study aims to investigate the question of poetry translation in a more solid, empirical manner by looking into linguistic and language-based aesthetic differences between Chinese and English, in particular their prosodic features and capacities. Part One seeks to answer the question “Why does poetry get lost in translation?” from a linguistic and language-based aesthetic perspective, using the English translations of Wen Yiduo’s 聞一多 (1899-1946) poems as a case study. This thesis, however, does not simply further expound the position that “poetry is untranslatable”. Rather, based on the discussion in Part One, Part Two attempts to show that neither the translator nor his/her translation needs to “get lost”, even though something always “gets lost” in the process. The rhetorical question “Why get lost in translation?” will lead to illustrations that translation strategies are more an active choice of translators than a mere passive reaction to obstacles encountered. The thesis points out that while present discussions of untranslatability seem to focus largely on fidelity to the source text, it may be the target text that matters more, as the target language literally sets a limit to what translation can achieve (and thus determines the degree of translatability of a text). Hence, while poetry translation may be more difficult than other types of translation, its nature is not categorically different from others, for all translations are constrained by the target language in the first place. Besides, translation needs to be viewed in terms of the purpose of cultural transmission — from the perspective of the target readers and culture. One may thus conclude that poetry, like anything else, is translatable, although the degree of difficulty might differ. Regardless of one’s theoretical perspective, issues of textual translation are language-based. Before one discusses issues of poetry translation, one must first understand issues of language, poetic language and poetics (including prosody). These are all what the present thesis aims at exploring. By re-evaluating the relationship between the source and target texts and discussing the factors (both linguistic and extra-linguistic) affecting translation, this study attempts to shed more light on poetry translation, and literary translation in general.

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Barroca, Bruno Fontes. "Analysable software language translations". Doctoral thesis, Faculdade de Ciências e Tecnologia, 2013. http://hdl.handle.net/10362/10423.

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Dissertação para obtenção do Grau de Doutor em Engenharia Informática
The most difficult tasks in the Software Language Engineering (SLE) process, are the design of the semantics of a Domain Specific Modeling Language (DSML), its implementation (typically in a form of a compiler), and also its verification and validation. On the one hand, the choice of the appropriate level of abstraction when designing a DSML’s semantics, affects directly its usability, and the potential for its analysis. On the other hand, in practice, not only the compiler’s implementation, but also its verification and validation are performed manually, while having as reference the DSML’s semantic models. The challenge of this research work is to apply a complete model driven software development approach in the tasks of designing a DSML’s semantics, implementing, verifying and validating DSMLs’ compilers. This involves the choice of the most appropriate abstraction levels, and the design and development of adequate tools to support SLE practitioners on these tasks. This thesis reports: i) the design and implementation of formal languages (and associated tools) to support the task of DSML’s semantics design (i.e., DSLTrans and SOS); ii) the automatic generation of DSMLs’ compilers based on translation specifications; and iii) automated validation of DSMLs’ semantic designs based on the analysis of translation specifications. Finally, the approach presented in this thesis is illustrated with the design and implementation of a real life DSML.

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Spies, Carla-Marie. "Die wisselwerking tussen die agente betrokke by die publikasieproses van literere vertalings". Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/79993.

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Thesis (PhD)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: In this dissertation two relatively under-researched areas within the scope of translation studies are investigated: the production process of translations and the sociological and cognitive aspects involved in this production process (as opposed to only studying the translation product). Process and sociological studies are currently on the forefront of research in translation studies and this dissertation attempts to contribute to these fields. The current study investigates the role of the various agents (among others the publisher, reviser and editor) involved in the production process of translations to illustrate how this process involves more agents than only the translator. Translation is proven to be a process involving a network of agents who work together to produce the final product, i.e. the target text. In this dissertation this interaction between agents is examined by making use of Latour's Actor-Network-Theory (ANT), a sociological theory that focuses on the network and links between agents within a production process. The production processes of literary translations that are analysed in this dissertation are Niggie – To hell with Cronjé (Ingrid Winterbach), Vaselinetjie – My name is Vaselinetjie (Anoeschka von Meck) and a selection of the "Stoffel tales" – In bushveld and dessert: A game ranger's life (Christiaan Bakkes). These texts were all translated by the literary translator Elsa Silke and published by NB Publishers in 2007, 2009 and 2008, respectively. The versions of the texts analysed are the source text, the concept translation, any other preliminary versions (manuscripts) and the completed published target text. These texts are analysed along with all available correspondence between agents to reconstruct the production processes in order to determine how translations are produced by means of interaction between different agents. This study is therefore greatly exploratory by nature and aimed at revealing the "invisible" of the production process of literary translations in order to contribute to and promote research within this under-researched field of translation studies. The main focus of this study is to analyse how each agent's inputs have a sociological impact on other agents and the production processes, as well as how their interaction and decisions impact the target text. The results are predominantly presented descriptively (within the framework of Descriptive Translation Studies [DTS]) and concepts of Nord's Functionalism, Even-Zohar's Polysystem Theory, Bourdieu's theory on the field of cultural production, Sharpe and Gunther's editing principles and Mossop's theory on editing and revision of translated texts are used to analyse and discuss the production processes of the three literary translations mentioned above. In conclusion a model is presented, based on these analyses, depicting a possible optimal production process for literary translations. A possible chronology of steps in the production process and means of interaction between agents are depicted by this model. With this proposed model this dissertation contributes to theory development within the field of translation studies and editing and revision theory. This model can be applied to production processes of literary translations to test if it is viable to apply in practice to ensure a more effective production process as well as a successful product (target text). If this model proves to be effective, it can eventually serve as a guideline for literary translation practice.
AFRIKAANSE OPSOMMING: In hierdie proefskrif word twee studieterreine ondersoek wat in die verlede min binne die vertaalwetenskap nagevors is: die bestudering van die produksieproses van vertalings en die bestudering van die sosiologiese en kognitiewe aspekte betrokke by hierdie produksieproses (teenoor slegs die vertaalproduk). Die ondersoek van hierdie terreine is op die oomblik op die voorgrond in die vertaalwetenskap en hierdie proefskrif dra daartoe by om hierdie studieveld te verbreed. In hierdie proefskrif word daar gekyk na die rol van die verskillende agente, onder andere die uitgewers, redigeerders en reviseurs in die produksieproses van drie literêre vertalings om te illustreer dat die produksieproses van literêre vertalings nie slegs die insette van een agent, naamlik die vertaler, behels nie, maar dat dit 'n proses is wat uit 'n netwerk van agente bestaan wat saamwerk om die eindproduk (naamlik die doelteks) te produseer. Hierdie netwerk van verhoudings tussen agente in die produksieproses word ondersoek na aanleiding van Latour se sosiologiese Actor-Network-Theory (ANT) wat op die netwerk en skakels tussen agente binne 'n produksieproses fokus. Die produksieprosesse van literêre vertalings wat in hierdie proefskrif ontleed word, is Niggie – To hell with Cronjé (Ingrid Winterbach), Vaselinetjie – My name is Vaselinetjie (Anoeschka von Meck) en 'n keur uit die Stoffel-verhale – In bushveld and desert: A game ranger's life (Afgekort as In bushveld and desert) (Christiaan Bakkes) – almal tekste wat onderskeidelik in 2007, 2009 en 2008 by NB-Uitgewers verskyn het en deur die literêre vertaler Elsa Silke vertaal is. Die bronteks, die konsepvertaling, enige ander voorlopige weergawes (manuskripte) en die uiteindelike gepubliseerde doelteks word telkens saam met die beskikbare korrespondensie tussen die onderskeie agente bestudeer om die produksieprosesse te rekonstrueer en te bepaal hoe die vertaalprodukte deur middel van wisselwerking tussen onderskeie agente tot stand gekom het. Hierdie studie is dus grootliks verkennend van aard en het dit ten doel gestel om die "onsigbare" van die produksieproses van literêre vertalings bloot te lê ten einde verdere navorsing in hierdie onderontwikkelde been van die vertaalwetenskap te bevorder. Daar word hoofsaaklik gekyk na die wyse waarop elke agent se insette 'n sosiologiese impak op die ander agente sowel as die produksieprosesse en/of 'n tekstuele impak op die doelteks gehad het. Die resultate word hoofsaaklik deskriptief (vergelyk deskriptiewe vertaalstudies, DTS) aangebied en bespreek en daar word van konsepte uit Nord se funksionalisme, Even-Zohar se polisisteemteorie, Bourdieu se veldteorie, Sharpe en Gunther se redigeerbeginsels en Mossop se teorie oor redigering en revisie van vertalings gebruik gemaak om die analises uiteen te sit en te bespreek. Na aanleiding van dié analises word 'n model in die laaste hoofstuk aangebied wat 'n moontlike optimale produksieproses vir literêre vertalings voorstel. Die aanbevole chronologie van stappe in die produksieproses en die wisselwerking tussen agente word deur hierdie model voorgestel. Met die daarstelling van dié model dra die proefskrif dus tot teorieontwikkeling in die vertaalwetenskap en op die gebied van redigeer- en revisieteorie by. Hierdie model kan op die produksieprosesse van literêre vertalings toegepas word om te toets of dit wel in die praktyk werk om 'n effektiewe produksieproses te bewerkstellig en 'n geslaagde vertaalproduk te produseer. Indien wel, kan dit uiteindelik as 'n riglyn vir die literêre vertaalpraktyk dien.

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15

Shen, D. "Literary stylistics and translation : With particular reference to English translations of Chinese prose fiction". Thesis, University of Edinburgh, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.379342.

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16

Sturdy, Elliot. "Lost In Translation : An Analysis of Three Translations of Rosa Liksom's Tyhjän Tien Paratiisit". Thesis, Uppsala universitet, Institutionen för moderna språk, 2009. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-326794.

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Abstract (sommario):

This paper deals with the problems of translation and the various methods of overcoming them. In particular it deals with a work by Rosa Liksom and its translation into Swedish and English. This paper looks at the translation of dialects and also at machine translation.

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17

Benhaddou, Mohamed. "Translation quality assessment : a situational/textual model for the evaluation of Arabic/English translations". Thesis, University of Salford, 1991. http://usir.salford.ac.uk/2082/.

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Translation evaluation is one of the main concerns of translation theorists, members of translation revision boards, and most importantly it is the concern of translator trainers. Translation quality has often been associated with the correctness of the grammatical structure and the appropriateness of the lexical item. Little concern has empirically been given to units larger than the sentence, i.e. text. This seems to be the result of the prevailing linguistic trend that has put more emphasis on a -context-free' sentence, rather than on text in context. This study proposes to investigate, discuss and develop a translation quality assessment model that takes text, not a sentence as the ultimate aim of analysis. The study will also attempt to explore the theoretical and practical implications of the model to be developed for the training of translators in the Arab world. The model to be developed should be based on the definition that translation is the replacement of a text in the source language by a semantically, pragmatically and textually equivalent text in the target language. Text, then, is the focus of interest in this study. Therefore, the model will be developed within the framework of text lingui4Vics for which text is regarded as a communicative occurrence. The developed model will serve as a means to evaluating the quality of Arabic-English translations of a particular type of texts, argumentative text type. Therefore, two argumentative texts in the form of newspaper editorials, selected from two Moroccan quality newspapers will be analyzed along the dimensions of what will be known in this study as a Situational/Textual model. The resultant "textual profile" will, then, be taken as a "yardstick" against which will be measured 81 translations collected from Fand School of Advanced Translation (FST) and 5 from the department of modern languages, Salford University (SU). The first introductory chapter lays out the main arguments of the thesis. Chapters two and three present and discuss sentence-oriented translation models, and text-oriented translation models respectively. Chapter four presents and discusses the following: a) the three aspects of meaning: semantic, pragmatic, and textual, b) language function vs. text function, and finally C) House's (1981) model of translation quality assessment. Chapter five presents the method of operation, discusses the decision criteria needed to deal with the dimensions linguistic correlates, and finally illustrates the extended situational/textual model for translation quality assessment. Chapter six is the application of the model on the two Arabic argumentative texts. In addition, argumentative text structure will be discussed and the difference between Arabic and English argumentative texts will be explained. Finally, chapter seven includes the source language text (SLT), and the target language text (TLT) statement of comparison and statement of quality, and a discussion of the theoretical implication of the model for the training of translators in the Arab world.

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18

Fusco, Cassandra M. F. "Between words and meaning: The translations of Brian Friel, Translations and Dancing at Lughnasa". Thesis, University of Canterbury. English, 1988. http://hdl.handle.net/10092/4591.

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This thesis is concerned with the 'decolonisation of the imagination' as represented in two original plays by Brian Friel and his three translations of Chekhov and Turgenev. In various ways these five works reflect upon contemporary Irish experience and the history which influenced it. The study focuses upon Friel's strategies of decolonisation, particularly the role of translation as enquiry in relation to human communication and understanding, and explores how the language of his plays contributes to a proposed aesthetic independence of the Irish. I maintain that Friel' s advocacy of a critical aesthetic of differences has not been adequately recognised by critical authorities. This assertion is developed throughout the analysis of these five plays, which examine recurring paradigms, and forces of change. In 1980, Friel's dramatic grasp of the conflict engendered by inherited and imposed paradigms found its fullest expression in Translations. Dealing with the forces of change, and especially the effect of the English language and the comprehensive re-naming of Irish localities, Translations suggests that the wasting of the local represents the wasting of a national being unless, through transformation, accommodation of differences is embraced. Intent upon encouraging aesthetic independence and a critical climate within which to interrogate the contemporary crisis in Ireland, and privileging Hiberno-English over 'standard' English, Friel re-presented the enquiries of Chekhov and Turgenev into conflict engendered by change. Then, examining the same forces in Dancing at Lughnasa, Friel created a play showing an affinity with Chekhov but radical in its critique of and departure from the Irish dramatic tradition and fundamental Irish values. Friel maintains that English aesthetic conventions (including the notion of 'standard' English), while rich in themselves, are redundant in relation to Irish experience and counter to independent Irish representation. How he proceeds to re-appropriate Chekhov and Turgenev from 'standard' English conventions, re-creating them as 'stepping stones' in a decolonisation process, forms not only an important part of this thesis but also part of the wider recension of the writing of Ireland.

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19

Ntimbana, M. H. "Nkanelo wa nkoka wa vuhundzuluxi eka tsalwa ra xitlhangu ra G. S. Mayevu : maendlelo ya vuhundzuluxi bya ntumbuluko". Thesis, University of Limpopo, 2014. http://hdl.handle.net/10386/1773.

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Thesis (M. A. ( Translation Studies)) --University of Limpopo, 2014
This topic outlined the importance of translation of Xitsonga novel which is translated in Xitsonga by G.S. Mayevu. This showed how translation is so important in Xitsonga language. Mayevu and other translators had tried their level best to better the Xitsonga language through translation. This research pointed out in details problems which translators come across and how these problems can be overcomed. In this research, we also realised how scarce students who are doing translation are. The researcher also recommend that translation be taken into consideration in the world at large because people can together, discuss and agree on issues through translation.

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20

Nikonova, E. "To the technical translations features". Thesis, Sumy State University, 2015. http://essuir.sumdu.edu.ua/handle/123456789/39229.

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21

Kartalopoulos, Stephanie Maria. "Peculiar love (poems and translations)". [Gainesville, Fla.] : University of Florida, 2003. http://purl.fcla.edu/fcla/etd/UFE0000717.

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22

Brashi, Abbas S. "Arabic collocations : implications for translations". Thesis, View thesis, 2005. http://handle.uws.edu.au:8081/1959.7/20062.

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The subject of collocability has been a common concern among linguists, lexicographers, and language pedagogues recently. They find the linguistic aspect of collocation interesting, because words due not exist in isolation from other words in a language. They exist with other words. In every language, the vocabulary consists of single words and multi-word expressions. Collocations are among those multi-word expressions. The aim of this thesis is to characterize collocations in the Arabic language, to devise a classification of the semantic and the distributional patterns of collocations in the Arabic language and to examine the problems encountered in translating English collocations into Arabic. This will require an analysis of the collocational patterns in both English and Arabic, a classification of the translation outcomes, and therefore, types of errors adopted by translators, an indication of how frequent and significant each error is, and an analysis of the causes of each error.

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23

Brashi, Abbas S. "Arabic collocations implications for translations /". View thesis, 2005. http://handle.uws.edu.au:8081/1959.7/20062.

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Thesis (Ph.D.) -- University of Western Sydney, 2005.
"A thesis presented to the University of Western Sydney, College of Arts, Education and Social Sciences, School of Languages and Linguistics, in fulfillment of the requirements for the degree of Doctor of Philosophy, 2005." Includes bibliographical references and appendices.

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24

Kuang, Ping. "Translating for specific purposes : a review of web portal translations of Chinese Mainland universities". Thesis, University of Macau, 2009. http://umaclib3.umac.mo/record=b2456310.

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25

Johnson, Penelope. "Translation and the image of the other : The English translations of Pablo Neruda's Canto general". Thesis, University of Newcastle Upon Tyne, 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.512148.

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26

Erkazanci, Hilal. "Heteroglossia in Turkish translations : locating the style of literary translation in an audience-design perspective". Thesis, University of East Anglia, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.429673.

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Abstract (sommario):

The present dissertation aims to build up a theoretical framework which provides translation studies with a novel perspective on analysing translations of literary heteroglossia, i.e. language variation in literature. The theoretical framework is based on an exploration of the process and product of translating heteroglossia. The practical viability of this framework is tested via its application to the Turkish translations of heteroglossia. The study initially finds that heteroglossia has been systematically standardised in the Tukish translations. To account for this systematicity, the emphasis of translation-as-process is placed on seeing translation in terms of language ideologies which involve such critical-sociolinguistic concepts as the translator's linguistic habitus, the culture of monoglot standardisation, and the symbolic capital. The study also refers to the theories of poly system and skopos. Having seen the strategy of standardisation as a kind of domestication, the study re-defines the concept of domestication as accommodation of the style and/or content of the source text in line with the target-language audience's perceived linguistic, social, and ideological habitus. The study brings an audience-design approach to the translation of heteroglossia which suggests that (i) the translators accommodate style in line with an inferred audience design, and (ii) the strategy of standardisation systematically pursued in the Turkish translations of heteroglossia tells us a great deal about the Turkish audience. The emphasis of translation-as-product is placed on the effects of standardisation. Specific Turkish translations of heteroglossia are examined in line with such relevance-theoretic concepts as implicatures, explicatures, communicative clues, and interpretive resemblance. The examination of translation-as-product shows that standardising Turkish translations end up with a context that differs, in varying degrees, from that of the heteroglossic source texts.

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27

YANG, Yichen. "Performability and translation : a case study of the production and reception of Ying Ruocheng’s translations". Digital Commons @ Lingnan University, 2016. https://commons.ln.edu.hk/tran_etd/17.

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The active scholarly contribution made by practitioners of theatre translation in the past decades has turned the research area into what is now considered a burgeoning field. Despite recent developments, it seems that performability, a long-discussed yet controversial concept in the study of theatre translation, would remain part of the practitioners’ discourse. Based on a historical survey of the production and reception of the translations of Anglo-American plays by Chinese actor-director Ying Ruocheng (1929-2003) in and around the 1980s, this study explores how the performability, or theatrical potential, of a translated playtext is constructed through the negotiation between/among the norms mainly operating on three levels—the textual, the theatrical and the socio-cultural—and the agency of the individuals involved. This thesis chooses to focus on Ying because he not only was one of the most successful theatre translators in contemporary Mainland China, but also seems to be an “impossible” ideal, considering his accomplishments in translating, acting, directing and as culture diplomat. Acknowledging that performability, which is essentially fluid and constructed, this descriptive-analytical survey will cover a whole range of possible activities involved in the production and reception of a translated playtext, and put the translator’s seemingly ideal status into perspective. The broadening of the scope of investigation is crucial to the outcome of this thesis, and recommendable to future researchers of theatre translation studies. In this study, translated playtexts and their stage productions are treated as the products of the receiving linguistic, theatrical and socio-cultural systems. The investigation begins with an evaluation of Ying’s practice against his stated translation principles to identify the textual and extra-textual factors that might have governed his work as a translator in reality. The discussion emphasises that performability cannot be realised through the textual medium only, before moving on to the exploration of the performers’ attempts to negotiate with his texts for theatrical enactment. The investigation, which examines the actions taken by the theatrical institution and individual actors in two separate chapters, draws attention to the roles of the translational, theatrical and socio-cultural norms and the power dynamics between the translator and his theatrical collaborators in their efforts to ‘ensure’ or create performability. The discussion is followed by an analysis concentrating on Ying’s role as a mediator within the production process and between the productions and the target environment, which is crucial to the achievement of both the immediate success of the productions and the transfer of repertoire. The study concludes that while a theatre translator and his or her theatrical collaborators are subject to various systemic constraints, the translator can find more power in his or her mediatory role as a bilingualist and biculturalist and promote the performability of the text.

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28

Austin, Kelly. "A poet of the Americas Neruda's translations of Whitman and North American translations of Neruda /". Diss., Restricted to subscribing institutions, 2005. http://proquest.umi.com/pqdweb?did=1003847081&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.

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29

Kratz, Julia. "Translating African folktales for children into German : challenges, strategies and solutions". Thesis, Stellenbosch : Stellenbosch University, 2013. http://hdl.handle.net/10019.1/85776.

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Abstract (sommario):

Thesis (MPhil)--Stellenbosch University, 2013.
ENGLISH ABSTRACT: South African author Linda Rode‘s book In die Nimmer-Immer Bos (2009a) and Elsa Silke‘s English translation thereof In the Never-Ever Wood (2009b) have won a number of prizes in South Africa, which is evidence both of the quality of the anthology and its translation, as well as of the continued significance of the folktale genre in today‘s fast-paced, modern society. People continue to make sense of the world through telling stories and, although the stories told today might be marked by life in the 21st century, our ancestors‘ stories are still appreciated by many. Although Rode‘s tales are not unlike other folktales, her collection differs in that it is a mosaic of cultures and their folklore spanning the globe, a book that appeals to the whole family, and to young readers and listeners in particular. Through a practical translation into German of selected tales from Silke‘s English version of Rode‘s book, the present thesis investigates ways and means of translating folktales for children. A functional approach was suggested, taking into account the European audience as well as the original intention of the author. As such, the author‘s style was naturalised and an attempt was made to replicate it in the target language, whereas culture-specific items relevant to the setting of the individual tales were retained. Hans J. Vermeer‘s skopos theory, as enhanced by Christiane Nord, as well as Lawrence Venuti‘s concepts of foreignisation and domestication were discussed, amongst other relevant theories. Many of the challenges discussed in the annotations to the practical translation typically occur in the translation of literature for children, and the study thus hopes to make a contribution to research on the translation of literature for children. Interviews conducted for the purpose of the present study furthermore proved the positive impact of good cooperation between the people involved in a translation project on the final translation product. The resulting translation, meant to impart knowledge and pleasure to the audience, furthermore serves as a translation sample that is intended to entice German publishers to commission a translation of Rode‘s anthology for the German book market.
AFRIKAANSE OPSOMMING: Die Suid-Afrikaanse skrywer Linda Rode se boek In die Nimmer-Immer Bos (2009a), sowel as die Engelse vertaling daarvan deur Elsa Silke, getiteld In the Never-Ever Wood (2009b), is in Suid-Afrika met verskeie pryse bekroon. Hierdie erkenning is ‘n bevestiging van die gehalte van die antologie en van die vertaling, sowel as van die voortgesette belangrikheid van volksoorleweringe as genre in die gejaagde, moderne samelewing van vandag. Mense maak steeds sin van die wêreld deur stories te vertel, en hoewel die stories wat vandag vertel word meestal handel oor die lewe in die 21ste eeu, word die stories van ons voorouers steeds deur baie mense waardeer. Hoewel Rode se verhale nie besonder anders as ander volksverhale is nie, verskil haar versameling in dié opsig dat dit ‘n mosaïek van kulture en volksoorleweringe van regoor die wêreld is. Die boek is dus een waarby die hele gesin, maar veral jong lesers en luisteraars, aanklank kan vind. Hierdie tesis ondersoek, deur ‘n praktiese vertaling van enkele verhale uit die Engelse weergawe van Rode se boek in Duits, strategieë vir die vertaling van volksverhale vir kinders. ‘n Funksionalistiese benadering is gevolg, wat die Europese gehoor sowel as die oorspronklike bedoeling van die skrywer in ag neem. In die lig hiervan is die styl van die skrywer genaturaliseer en, waar moontlik, na die doeltaal oorgedra, terwyl kultuurspesifieke items behou is wat relevant is vir die agtergrond waarteen die individuele verhale afspeel. Hans J. Vermeer se skoposteorie, soos aangepas deur Christiane Nord, sowel as Lawrence Venuti se konsepte vervreemding en domestikering is bespreek, saam met ander relevante teorieë. Baie van die uitdagings wat in die annotasies by die praktiese vertaling bespreek word, kom dikwels in die vertaling van kinderliteratuur voor. Hierdie studie hoop dus om ‘n bydrae tot navorsing oor die vertaling van verhale vir kinders te lewer. Onderhoude wat vir die doel van die studie gevoer is, het verder bewys gelewer van die positiewe impak wat goeie samewerking tussen die rolspelers in ‘n vertaalprojek op die finale vertaalproduk kan hê. Die uiteindelike vertaling, wat bedoel is om kennis oor te dra en genot aan die gehoor te verskaf, dien verder as ‘n vertaalvoorbeeld wat Duitse uitgewers hopelik sal aanmoedig om Rode se antologie vir die Duitse boekemark te laat vertaal.

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30

Walles, Johan. "Lost in Translation : A study on the two English translations of The Brothers Lionheart". Thesis, Karlstads universitet, Estetisk-filosofiska fakulteten, 2008. http://urn.kb.se/resolve?urn=urn:nbn:se:kau:diva-3831.

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Abstract (sommario):

This study investigates the translation of cultural features in fiction. It is based on two translations into English of the Swedish book The Brothers Lionheart and its focus lies on proper names, place names, food, and dialect. Acomparison between the two translations is also made. The results showed that there were differences in the translation of proper names, place names, and food. While the overall differences for proper names, place names and food were small, there were big differences in the way some proper names and food were translated. However, these cases were very few, and on the whole, the translations resemble each other in most areas. As regards the translation of dialect, this was completely omitted in both translations.

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31

Mygdali, Christiana. "Politics of translation, poetics of culture : the case of Greek translations under the Junta (1967-1974)". Thesis, University of Oxford, 2012. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.600801.

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This thesis explores the central role translation came to play in Greek intellectual production under the Dictatorship of 1967-1974, namely its function as a mechanism of cultural resistance. Methodological tools borrowed from both translation and cultural studies are used in order to demonstrate the socio-political dimension of translation as a gesture of great cultural significance. The first chapter juxtaposes the propagandistic discourse and the restrictive practices of the authoritarian regime to the dissident discourse and the progressive ideas promoted by the group of intellectuals practising cultural resistance. This serves to depict the tension created in the Greek cultural field under the Junta, and explains the reasons causing translation to emerge as an effective means of free expression. The mediated nature of translation, allowing those involved in the industry to avoid full responsibility for translated texts' content, is discussed as the most prominent characteristic that turned translation into the publishing product par excellence associated with Greek cultural resistance against the Junta. The second, third and fourth chapters are devoted to three agents of translation, according to the model of patronage proposed by Lefevere. These agents are firstly those publishers who founded new, small-scale, and progressive publishing houses under the Junta, publishing mostly translations and republications of modem Greek texts. The second group were the directors, editors and contributors working for dissident literary journals first published under the Junta, who used translation extensively to infuse the Greek readership with progressive ideas from abroad. Thirdly, the translators themselves, who worked towards producing translations of major texts, contextualizing them in Greek contemporary reality and showing their relevance to the pressing socio-political issues. These three agents are closely examined in terms of their position in the cultural landscape of the time, as are the discussions the translated texts they produced triggered in intellectual circles, both in Greece and abroad. Therefore, this thesis proposes a systematic mapping of the networks of intellectuals involved in translation at the time, and an insight into the impact translations had on the Greek readership. It also offers a selection of close readings of a number of indicative translated texts, which are drawn from the vast corpus of translations published under the Junta, in order to show the potential these texts had to turn the gesture of translation into a dynamic mechanism of cultural resistance. It is by placing emphasis on the work of individuals, such as Giorgos Chatzopoulos, the publisher of Kalvos editions, Dimitris Kalolcyris, the chief editor of TO TRAM, and Pavlos Zannas, who translated A la recherche du temps perdu during his incarceration as a political prisoner, that this thesis engages with the cultural significance translation acquired during the Junta period in Greece, making it emerge as a prominent

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32

November, Kate. "Translation and national identity : the use and reception of Mauritian Creole translations of Shakespeare and Molière". Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/5826.

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The purpose of this thesis is to find out whether theatre translation into Mauritian Creole can contribute to the formation of a national identity in post-colonial, multi-ethnic and multilingual Mauritius. There are currently fourteen languages spoken, many of which, as carriers of symbolic value, are often used as markers of ethnic identity. Moreover, the fact that they do not all carry the same socio-economic and political status has created a linguistic hierarchy which positions English at the top, closely followed by French, in turn followed by Asian languages and finally by Mauritian Creole, even though the latter is the most widely spoken language on the island. I argue that translation into Mauritian Creole is largely an ideological endeavour, designed to challenge the existing asymmetrical linguistic power relations, and to highlight the language’s existence as a shared cultural capital and as a potential force for national unity. I show how such an endeavour is closely linked to the political and socio-cultural aspects of the target society. This is done by using complementary theoretical perspectives, such as Itamar Even-Zohar’s polysystem theory (1979, 2000), André Lefevere’s systemic concept (2004) and post-colonial approaches to translation, and by drawing upon the case study research method, with its emphasis on multiple sources for data collection. The thesis examines Mauritian Creole translations of six plays by Shakespeare and two by Molière. I suggest that the reasons for choosing Shakespeare and Molière for translation are highly symbolic in the Mauritian context, where the educational system, a British colonial legacy, has continued to assign a privileged position to canonized British and French literatures; a system which contributes towards the perpetuation of colonial values. The translation of canonized texts is therefore intended to highlight the persistence of hegemonic socio-cultural values. Equally, it is designed to promote cultural decolonization and to point to the emergence of new creolized practices that offer areas of shared meaning for the Mauritian population as a whole. I also argue that since translation is an ideological undertaking, it is essential to understand the purposes of those actively involved in its production and dissemination. Because theatre texts can function as literary artefacts and as performance scripts, I look at the role played not only by translators and publishers, but also by theatre practitioners (producers, directors and actors). I explain their beliefs and their political agendas, showing why neither translation, nor stage production can constitute a neutral activity. In the process, my examination reveals the opposing forces at work which disagree over the way Mauritian Creole should be used in the discourse of nation-building. I then look at the intended target audiences with a view to finding out if the translations and the stage productions have had any obvious impact upon Mauritian society. My findings show that neither readers nor spectators are likely to have represented a large proportion of the population. Although this seems to indicate that theatre translation has had little direct impact so far upon the construction of a national identity, I suggest that in fact, its contribution to the Mauritian Creole literary and cultural capital should not be underestimated, as the language is very slowly emerging as an important symbol of the island. I conclude that should theatre translation be combined with other societal efforts in the future, it could still have a part to play in the formation of a national identity based upon Mauritian Creole.

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33

Sharkas, Hala. "Genre and translation quality : perspectives in quality assessment of English-Arabic translations of popular science genres". Thesis, University of Portsmouth, 2005. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.419067.

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34

Bosseaux, Charlotte Isabelle Aline. "Translation and narration : a corpus-based study of French translations of two novels by Virginia Woolf". Thesis, University College London (University of London), 2004. http://discovery.ucl.ac.uk/1446703/.

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Narratology does not usually distinguish between original and translated fiction and narratologicai models do not pay any attention to the translator as a discursive subject. Since the 1990's, the visibility of translators in translated narrative texts has been increasingly discussed and researchers like Schiavi (1996) and Hermans (1996) introduced the concept of the translator's voice, which attempts to recognise the 'other' voice in translation, i.e. the presence of the translator. Corpus-based studies have also focused on recurrent features of translated language (see, for example. Baker 1993, Kenny 2001; Laviosa 1997; Olohan and Baker 2000), and corpus techniques and tools are being employed to identify the translators' 'style' in their translations (Baker 2000). The present thesis seeks to explore the nature of the translator's discursive presence by investigating certain narratologicai aspects of the relation between originals and translations. Until recently comparative analysis between originals and their translations have mainly relied on manual examinations; the present study will demonstrate that corpus-based translation studies and its tools can gready facilitate and sharpen the process of comparison. My work uses a parallel corpus composed of two English novels and their French translations; Virginia Woolf's To The Lighthouse (1927) and its three translations (Promenade au Phare, 1929, translated by Michel Lanoire; Voyage au Phare, 1993, by Magali Merle; Vers le Phare, 1996, by Francoise Pellan), and The Waves (1931), and its two translations (Les leagues, 1937, translated by Marguerite Yourcenar and Les agues, 1993, translated by Cecile Wajsbrot). The relevant texts have been scanned and put in machine-readable form and I study them using corpus-analysis tools and techniques (WordSmith Tools, Multiconcord). My investigation is particularly concerned with the potential problems involved in the translation of linguisdc features that constitute the notion of point of view, i.e. deixis, modality, transitivity and free indirect discourse, and seeks to determine whether and how the translator's choices affect the transfer of narratologicai structures.

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35

Chittiphalangsri, Phrae. "Translation, orientalism and virtuality : English and French translations of the Bhagavad Gita and Sakuntala 1784-1884". Thesis, University College London (University of London), 2009. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.508274.

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For decades, Edward W. Said's Orientalism has been at the forefront of the study of East-West cultural encounter. Said draws mostly on novels, travel accounts, anthropological documents and similar writings to explore the discursive consolidation of texts that acquire power to represent the Orient. Translation, which is the primal site of exchange between Western Orientalists and the East, is rather treated as a given concept, and no substantial theoretical consideration is developed in Said's work to explain the critical role of translation in Orientalism. A number of studies on translation and its relations to Orientalism have tackled the issue from different angles, mostly showing a degree of skepticism towards the political overtone of postcolonial discourse; for example, Figueira (1991) and Cannon (1990). The political and ideological implication of Orientalism in the practice of translation tends to be interpreted in terms of Lawrence Venuti's polarising paradigm of `domestication' in which the original's features are `distorted' due to the translator's appropriation of the original, or `foreignisation' in which translator makes the text appear alien and remote. The absence of critical studies of the concept of Orientalism in translation, or for that matter of the relationship between Edward Said's notion of Orientalism and translation, means there is a lack of clarity regarding Orientalist translation. Furthermore, while postcolonial translation theory may provide a useful paradigm for reading power relations in the translations between hegemonic and subordinate cultures, it has largely overlooked an important issue raised by Said in Orientalism, namely the notion of the institutionalisation of knowledge, a significant factor to why the discursive representation of the Orient acquires power through institutionally certified knowledge. The present thesis proposes a new concept called `Virtuality' to explain the phenomenon of Orientalist translation in the late eighteenth to nineteenth century. `Virtuality' is a concept that entails the notion of potentiality, or virtual reality, virtue and power. Drawing on the notion of `sufficiency', it throws light on translation in Orientalism as a process that seeks to produce a version that has sufficient virtue to represent, or even replace, the original. Virtuality means there is no need for direct contact with the East, as the mediation by Orientalists proves them to be adequate proxies. In this thesis, virtuality is applied to the study of English and French translations of two well-known Sanskrit literary works - the Bhagavad-Gitä and Sakuntalä - from 1784 to 1884. The methodological tools deployed in this thesis to highlight the virtuality of translation in Orientalism are taken from Pierre Bourdieu's sociological concepts namely symbolic capital, symbolic power, distinction and misrecognition (meconnaissance), M. A. K. Halliday's Systemic Functional Grammar (SFG), Gerard Genette's paratextuality and Allan Bell's audience design. This set of methodological tools taken from sociology, linguistics, intertextuality and sociolinguistics, provides a new reading of Orientalist translation which emphasises the process whereby Orientalists struggle for legitimacy in representing the Orient in their translations.

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36

Attig, Remy. "Translation in the Borderlands of Spanish: Balancing Power in English Translations from Judeo-Spanish and Spanglish". Thesis, Université d'Ottawa / University of Ottawa, 2018. http://hdl.handle.net/10393/37927.

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Literature emerging from borderland, transnational or diaspora contexts doesn’t always fit the mould of the dominant national culture where the author resides. Usually this literature is published in the language of the larger society, but sometimes authors prefer to use the language variety in which they write as one of many tools to resist assimilation and highlight their independent or hybrid identity; such is the case with Matilda Koén-Sarano's Judeo-Spanish folktales and Susana Chávez-Silverman’s Spanglish crónicas. When this is the case, translation from these varieties must be done in a way that preserves the resistance to assimilation in a different linguistic context. In this thesis I begin by defining Judeo-Spanish and Spanglish as language varieties, consider who uses them, who writes in them, and the political or personal motivations of the authors. I then problematize the broad issue of translating texts written in nonstandard language varieties. I consider power in translation generally and into English more specifically. I nuance the binary between rejecting translation completely, and embracing it wholeheartedly as essential. In the final two chapters I turn my attention to specific challenges that presented themselves in translations from Judeo-Spanish and Spanglish and explain how these challenges informed my approaches and strategies. No single translation approach or strategy emerges as a monolithic solution to all problems. Nevertheless, my original contribution to knowledge lies in the nuanced discussion and creative application of varying degrees of ethnolects (or literary dialects), writing based in phonetics, and intralinguistic translation that are explained and that are evidenced in the original translations found in the appendices.

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37

Russo, D. "FOR A METHODOLOGY OF TRANSLATION CRITISIM: THE ITALIAN TRANSLATIONS OF THE SECRET SHARER BY JOSEPH CONRAD". Doctoral thesis, Università degli Studi di Milano, 2011. http://hdl.handle.net/2434/151787.

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Translation Studies encompass various more specific fields which imply tackling the phenomenon of translating from different angles: translation process analysis (synchronic approach), history of translation (diachronic approach), (inter)cultural translation studies, intersemiotic translation (multimediality, intermediality), etc. One of these subclasses is translation criticism, which is one of the most neglected areas due to the lack of interrelationship of theory, criticism and practice. By adopting a descriptive and empirical (functional) approach, contemporary translation criticism features these specific aspects: it is not aimed at “finding mistakes” and it shuns generic, impressionistic and scientifically unmotivated commentaries by identifying categories to classify translations shifts, i.e. differences between source text and target text. Translation criticism is not exclusively metatext-oriented as it was before the introduction of descriptive Translation Studies; it has a reconstructing approach aimed at tracking the translation strategy underlying the process from the prototext to the metatext; it seeks strategic consistence and pinpoints strategic inconsistencies. As for translation shifts, research is still in its infancy: by following the empirical practice, it is necessary to produce a hypothetical model, test it against practice, modify it and eventually re-test it. In this sense, the most conspicuous contributions in the field of translation criticism were given by van Leuven-Zwart (1989) and House (1997), whose models will be illustrated in Chapters 2 and 4. Due to the lack of communication between the translation industry and academic research, on the one hand the notions heralded by Translation Studies are regarded as “parochial,” “too technical” and “academic” by professionals (a category that includes editors, proof-readers, translation agencies and all the other figures working in the translation industry) who oftentimes prefer relying exclusively on their own experience, on the other hand scholars sometimes fail to make their findings accessible to whole community of practitioners. The goal of this dissertation is to bridge this gap and develop a model that synthesises various contributions so that it provides those interested in translation criticism with a source of (exhaustive, if possible) translational metalanguage. The model will be tested against a case study, i.e. a text in English having different translations: the selected text is Joseph Conrad’s The Secret Sharer, which has twelve Italian versions published from 1940s to 2007. The thesis is structured as follows. Chapter 2 reviews and critically examines approaches to translation criticism and translation quality assessment, as well as other contributions which do not specifically deal with the subject matter but are crucial for theoretical or methodological purposes. Chapter 3 is a brief text analysis of the prototext that pinpoints the linguistic and translatological aspects identified in the theoretical section; the analysis also entails extratextual elements such as the historical background, the author’s cultural background, the creation process underlying the novella and intertexts. The model for translation criticism is illustrated in Chapter 4 and is applied to the selected target texts in Chapter 5, which also synthesises the main tendencies found during the metatext analysis. A final chapter summarises the results – also in a diachronic perspective – and attempts to assess the model itself and make some suggestions for its usage.

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38

Li, J. "Translating Chinese political discourse : a functional-cognitive approach to English translations of Chinese political speeches". Thesis, University of Salford, 2013. http://usir.salford.ac.uk/29385/.

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This thesis presents a theoretical attempt to look into the process of political translation in China and the textual products from a functional-cognitive perspective by combining the CDA models of Fairclough and van Dijk. The functional linguistic parameters parallel to Fairclough’s functional forms of textual analysis serve as a micro-level device for the close examination of texts. At the macro-level, van Dijk’s direction of CDA from a socio-cognitive perspective accounts for the core relation between the power enactment and discourse production in a more profound manner. Meanwhile, anchored in the Chesterman’s model of translation norms, it sets out to argue that political translation in China is both an institutional operation and a reciprocal process of norm-reformation practice in specific context models. The theoretical propositions are instantiated by comprehensive text analysis from a functional perspective. The corpus of data is formed by five sets of Chinese political speeches and their English translations delivered by the state leaders in each of their periods of leadership. The focus is on presenting a holistic picture of the translation of Chinese political discourse through a spectrum of political genres. The thesis is concluded with the theoretical insights that the roles translation intends to play in mediating between the source and target communities manifest themselves as the power-mediated knowledge transfer between the source group and the target group depending on which group holds more discursive power in specific context models. Practically, it is observed that translation, as a form of political engagement in an era when China is governed under a more open and settled leadership, demonstrates a growing tendency to interact with the target readership and engages in the negotiation with the orthodox norms.

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39

Fisher, Tyler. "Jose Marti's Ismaelillo : an english translations". Honors in the Major Thesis, University of Central Florida, 2002. http://digital.library.ucf.edu/cdm/ref/collection/ETH/id/272.

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This item is only available in print in the UCF Libraries. If this is your Honors Thesis, you can help us make it available online for use by researchers around the world by following the instructions on the distribution consent form at http://library.ucf.edu/Systems/DigitalInitiatives/DigitalCollections/InternetDistributionConsentAgreementForm.pdf You may also contact the project coordinator, Kerri Bottorff, at kerri.bottorff@ucf.edu for more information.
Bachelors
Arts and Sciences
Spanish

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40

Frankel, David Harry. "Studies in Saadiah Gaon's Arabic Translations". The Ohio State University, 2012. http://rave.ohiolink.edu/etdc/view?acc_num=osu1338315987.

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41

Brownlee, Shannon. "Strange translations : experiments in film adaptation /". Diss., Digital Dissertations Database. Restricted to UC campuses, 2008. http://uclibs.org/PID/11984.

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42

Maa, Gerald M. "The blighted starfruit poems and translations /". College Park, Md. : University of Maryland, 2008. http://hdl.handle.net/1903/8082.

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Thesis (M.F.A.) -- University of Maryland, College Park, 2008.
Thesis research directed by: Dept. of English. Title from t.p. of PDF. Includes bibliographical references. Published by UMI Dissertation Services, Ann Arbor, Mich. Also available in paper.

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43

Walters, Coenraad Hendrik. "Vervreemding, patronaat en tuiskoms : die Gilgamesj-epos vir Afrikaanse kinderlesers". Thesis, Stellenbosch : Stellenbosch University, 2014. http://hdl.handle.net/10019.1/86499.

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Thesis (MPhil)--Stellenbosch University, 2014.
ENGLISH ABSTRACT: The epic of Gilgamesh is the oldest recorded story known to humanity. It has a long and complex textual history. The final version of the epic, generally known as the standard version, was produced about 1200 B.C. in the Babylonian dialect of Akkadian by a priest and scribe named Sin-leqi-unninni. The cuneiform tablets upon which the epic was recorded, were rediscovered during the nineteenth century when European archaeologists started digging in the ancient cities of the Middle East, especially Nineveh. Since then the story has been translated into many languages; several English translations have been published. Some of these translations of the epic maintain epic poetic form, others are in prose, and there are a number of versions for children. At the moment no complete version exists in Afrikaans. This thesis presents a translation of parts from Geraldine McCaughrean's English children's version, which was published in 2002. McCaughrean adapts the structure of the standard version, clearly a strategy to make her text exciting for modern readers. The theoretical insights of André Lefevere and Lawrence Venuti form the paradigm for the translation process. Lefevere sees translation as one of a number of rewriting techniques. The detail of such a rewriting is determined by the poetics of the target culture, the patronage which enables such a translation to exist, and the ideological framework within which the rewriting develops. Venuti distinguishes between two translational approaches: a domesticating translation adapts the translation to the target culture and creates the impression with readers that they are reading an original text; foreignising translation makes the readers aware that they are reading a text from another culture. The opportunities and limitations of children's literature and translation for children are explored. Specific attention is given to taboo topics, as a number of these appears in the Gilgamesh Epic. The writers of the children's versions have solved these problems in different ingenious ways. Annotations shed light on the translational challenges and the decisions of the translator. Finally the whole project is evaluated and suggestions for further research are made.
AFRIKAANSE OPSOMMING: Die Gilgamesj-epos is die mensdom se oudste opgetekende verhaal. Dit het ‘n lang en komplekse ontstaansgeskiedenis. Die finale variant van die epos, wat algemeen bekend staan as die standaardweergawe, is ongeveer 1200 v.C. in Babiloniese Akkadies geskryf deur ‘n skriba-priester genaamd Sin-leqi-unninni. Die spykerskriftablette waarop dit opgeteken is, is gedurende die negentiende eeu herontdek tydens argeologiese opgrawings van die verwoeste antieke stede in die Midde-Ooste, veral Nineve. Sedertdien is die verhaal in verskeie tale vertaal; daar bestaan etlike vertalings in Engels. Hierdie vertalings van die epos word soms aangebied as epiese gedig, in ander gevalle in prosavorm, en daar bestaan ook ‘n paar verskillende weergawes vir kinders. Daar bestaan tans egter geen volledige weergawe in Afrikaans nie. Hierdie tesis bied ‘n vertaling van dele uit een van die Engelse kinderweergawes, dié van Geraldine McCaughrean, wat in 2002 verskyn het. McCaughrean pas die struktuur van die standaardweergawe aan, ‘n duidelike strategie om haar teks vir hedendaagse lesers opwindend te maak. Die teoretiese insigte van André Lefevere en Lawrence Venuti vorm die raamwerk vir die vertaalproses. Lefevere beskou vertaling as een van ‘n hele aantal tegnieke van herskrywing. Die besonderhede van so ‘n herskrywing word bepaal deur die poetika van die doelkultuur, die patronaat wat die herskrywing moontlik maak, en die ideologiese raamwerk waarbinne die herskrywing ontstaan. Venuti onderskei tussen twee vertaalbenaderings: ‘n domestikerende vertaling pas die vertaalde teks sterk aan by die doelkultuur sodat lesers van die vertaling onder die indruk gebring word dat hulle ‘n oorspronklike teks lees; en vervreemdende vertaling, waarin die lesers bewus is dat hulle ‘n teks uit ‘n ander kultuur lees. Die moontlikhede en beperkinge van kinderliteratuur en vertalings vir kinderlesers word ondersoek. Spesifieke aandag word geskenk aan taboe-onderwerpe, waarvan ‘n hele paar in die Gilgamesj-epos voorkom, en hoe die skeppers van die kinderweergawes hierdie probleme opgelos het. Annotasies belig die vertaaluitdagings en die vertaler se keuses. Ten slotte word die projek as geheel geëvalueer en voorstelle vir verdere navorsing verskaf.

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44

U, Man Ieng. "A comparative study on translations of daily and banquet menus". Thesis, University of Macau, 2011. http://umaclib3.umac.mo/record=b2525842.

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45

Curtis, Sheryl A. "Visible hands, inferring translation strategy, an analysis of a corpus of translations produced at Canadian National (CN)". Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1999. http://www.collectionscanada.ca/obj/s4/f2/dsk1/tape9/PQDD_0005/NQ39031.pdf.

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46

Hanna, Sameh Fekry. "Towards a Sociology of Drama Translation : A Bourdieusian Perspective on Translations of Shakespeares Great Tragedies in Egypt". Thesis, University of Manchester, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.503808.

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47

Smith, Karen Louise. "The translation of advertising texts : a study of English-language printed advertisments and their translations in Russian". Thesis, University of Sheffield, 2002. http://etheses.whiterose.ac.uk/3044/.

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Since the end of Communism, adverts for Western products have been flooding onto the Russian market. These have undergone translation, with strategies ranging from complete transference of the source text into the target culture, to the creation of new texts based on advertisers' briefs. The choice of strategy, it appears, is dependent on the power balance between the agents of translation, including not only translators, but advertisers, designers, governments, text receivers and on the cultural, historical and economic situation in which the translation takes place. This thesis suggests advertisement translation be considered in terms of power, culture and history. A postcolonial framework is used to set out changes in translation strategy, emphasize the role of power differentials and make predictions for practice. Seeing translated adverts as `contact zones' where different cultures meet, the empirical research centres on the absorption of the `dominant's' culture into that of the `subjugated', and focuses on the interaction of `foreign' and `native' elements in these translated adverts. A parallel corpus of contemporary English adverts, their translated Russian pairs, and a control corpus of native Russian adverts provides the research data. A taxonomy of rhetorical figures employed in advertising headlines is constructed and their translation investigated, highlighting rhetorical trends, and instances where translators have been hindered by advertisers. The visibility of the linguistic Other is examined with reference to loanwords, loan meanings, calques and word formation; and two case studies relating to colour terms and names. Finally, the power relations between companies, customers and intermediaries are discussed in light of their portrayal in the translated adverts. The results show that the `post-colonial' contact zone is a mixture of `colonizer' and `colonized'; and demonstrate the necessity of giving translators the power their expert status deserves if translated adverts are to persuade the target audience.

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48

Steele, G. I., e D. J. A. Edwards. "Development and validation of the Xhosa translations of the Beck Inventories: 1. Challenges of the translation process". Journal of Psychology in Africa, 2008. http://hdl.handle.net/10962/d1007866.

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This article describes the translation of the Beck Depression Inventory-II, the Beck Hopeless Scale, and the Beck Anxiety Inventory, into Xhosa the language spoken in the Eastern Cape of South Africa. The processes of translation, back-translation and committee discussion failed to yield trustworthy translations because of practical difficulties in working with translators. Critical words and phrases were identified which gave rise to lack of agreement. For each, a range of options was generated and the advantages and disadvantages evaluated in terms of criteria such as conceptual and idiomatic equivalence, and extensiveness of usage. Examples are given of the problems encountered and the way in which final decisions were made. A pilot clinical trial demonstrated the acceptability of the translated Instruments. Two further articles report the psychometric evaluation of the translated scales.

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49

Abdallah, Mohamed Abdelrahman Moussa Noha. "Análisis traductológico de los términos culturales en la subtitulación árabe-español". Doctoral thesis, Universitat Politècnica de València, 2021. http://hdl.handle.net/10251/159276.

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Abstract (sommario):

[ES] El despegue de la traducción audiovisual (TAV) tuvo lugar dentro del mundo académico con la aparición de una edición de la revista Babel dedicada a la traducción del cine en 1960. Desde entonces, esta variedad de traducción se va adquiriendo una innegable pujanza. A partir de los años ochenta, los traductólogos coinciden en dar prioridad al aspecto comunicativo intercultural de la traducción. A principios de los noventa, se puso en marcha una perspectiva culturalista de la traducción denominada cultural turn o giro cultural de traducción. Durante el siglo XXI, la traducción audiovisual (TAV) ha alcanzado su máximo desarrollo experimentando cambios significativos gracias a los grandes avances tecnológicos y la eclosión de nuevas formas de difusión audiovisual. A partir del último tercio de la década de los años noventa, esta área de estudio ha visto un desarrollo vertiginoso en los círculos académicos. Sin embargo, los estudios dedicados a analizar la traducción de textos audiovisuales del árabe al español presentan un campo bastante escaso. Con el presente trabajo de investigación, pretendemos abrir el camino para llenar un vacío en tales estudios. Partimos de un marco metodológico descriptivo basado en el modelo de análisis elaborado por Martí Ferriol (2006) que consta de tres parámetros de análisis: las restricciones, las normas y las técnicas de la traducción audiovisual para facilitar la posterior identificación del método de traducción para la variedad audiovisual. El objetivo principal de esta tesis consiste en verificar si las tipologías de estrategias traductoras existentes, y tradicionalmente basadas en combinaciones de idiomas con el inglés son aplicables para analizar la TAV para el caso concreto de la combinación lingüística árabe - español. Para ello se realizó un análisis exhaustivo del tratamiento de los términos culturales presentes en dos películas egipcias subtituladas en español dirigidas por Youssef Chahine Estación Central (Bāb al-ḥadīd) (1958) y La tierra (Al-ʼrd) (1969). La elección estuvo condicionada por razonas traductológicas y cinematográficas. La profusión de términos culturales presentes, las marcas de oralidad que el traductor ha de solventar en el proceso traductor y la distancia cultural entre las culturas origen y meta suponían un gran desafío para el traductor. Desde el punto de vista cinematográfico, el director Youssef Chahine se desmarcaba del resto con una identidad cinematográfica propia y las películas, objeto de estudio, recibieron el reconocimiento de la crítica nacional e internacional, siendo seleccionadas en la lista de las mejores películas realizadas en la historia cinematográfica árabe.
[CA] L'enlairament de la traducció audiovisual (TAV) va tenir lloc dins del món acadèmic amb l'aparició d'una edició de la revista Babel dedicada a la traducció del cinema en 1960. Des de llavors, aquesta varietat de traducció es va adquirint una innegable puixança. A partir dels anys vuitanta, els traductòlegs coincideixen a donar prioritat a l'aspecte comunicatiu intercultural de la traducció. A principis dels noranta, es va posar en marxa una perspectiva culturalista de la traducció denominada cultural turn o gir cultural de traducció. Durant el segle XXI, la traducció audiovisual (TAV) ha aconseguit el seu màxim desenvolupament experimentant canvis significatius gràcies als grans avanços tecnològics i l'eclosió de noves formes de difusió audiovisual. A partir de l'últim terç de la dècada dels anys noranta, aquesta àrea d'estudi ha vist un desenvolupament vertiginós en els cercles acadèmics. No obstant això, els estudis dedicats a analitzar la traducció de textos audiovisuals de l'àrab a l'espanyol presenten un camp bastant escàs. Amb el present treball de recerca, pretenem obrir el camí per a omplir un buit en tals estudis. Partim d'un marc metodològic descriptiu basat en el model d'anàlisi elaborada per Martí Ferriol (2006) que consta de tres paràmetres d'anàlisis: les restriccions, les normes i les tècniques de la traducció audiovisual per a facilitar la posterior identificació del mètode de traducció per a la varietat audiovisual. L'objectiu principal d'aquesta tesi consisteix a verificar si les tipologies d'estratègies traductores existents, i tradicionalment basades en combinacions d'idiomes amb l'anglès són aplicables per a analitzar la TAV per al cas concret de la combinació lingüística àrab - espanyol. Per a això es va realitzar una anàlisi exhaustiva del tractament dels termes culturals presents en dues pel¿lícules egípcies subtitulades en espanyol dirigides per Youssef Chahine Estació Central (Bāb al-ḥadīd)) (1958) i La terra (Al-ʼrd) (1969). L'elecció va estar condicionada per raons traductològiques i cinematogràfiques. La profusió de termes culturals presents, les marques d'oralitat que el traductor ha de solucionar en el procés traductor i la distància cultural entre les cultures origen i meta suposaven un gran desafiament per al traductor. Des del punt de vista cinematogràfic, el director Youssef Chahine es desmarcava de la resta amb una identitat cinematogràfica pròpia i les pel¿lícules, objecte d'estudi, van rebre el reconeixement de la crítica nacional i internacional, sent seleccionades en la llista de les millors pel¿lícules realitzades en la història cinematogràfica àrab.
[EN] The advent of audiovisual translation (AVT) took place within the academic world with the publication of a special edition of the scholarly journal Babel in 1960 which was devoted to cinematographic translation. Since then, this field of translation has been growing rapidly. Since the 1980s, Translation Studies agreed to give priority to the intercultural communication aspect of translation by going beyond the translation's purview of transferring texts or languages to transferring cultures. A cultural approach to the study of translation or "cultural turn" was launched in the early 1990s. During the 21st century, the AVT has reached its maximum development undergoing significant changes thanks to the great technological advances and the emergence of new forms of audiovisual dissemination. Since the late 1990s, this area of study has experienced a remarkable development in academic circles. However, the studies dedicated to analyze the translation of audiovisual texts from Arabic to Spanish remain a limited field research. The present dissertation is an attempt to open the way to fill a gap in such studies. The methodological descriptive framework adopted in the present dissertation is based on the analysis model developed by Martí Ferriol (2006) which consists of three parameters: restrictions, norms and techniques of AVT to facilitate the subsequent identification of the translation method adopted by the subtitling versions. The main aim of this thesis is to verify whether the existing typologies of translation strategies, and traditionally based on language combinations with English, are applicable to analyze AVT for the specific case of the Arabic - Spanish language combination. In order to accomplish our aim of study, we carried out an exhaustive analysis of the treatment of the cultural terms in two Egyptian films subtitled in Spanish directed by Youssef Chahine Central Station (Bāb al-ḥadīd) (1958) and The land (Al-ʼrd) (1969). We chose our corpus on translation and cinematographic basis. The abundance of cultural terms in the selected corpus, the characteristics of verbal communication and the cultural distance between the origin and target cultures posed a great challenge for the translator. From the cinematographic point of view, the director Youssef Chahine stood out from the rest with his own cinematographic identity and the films, object of study, received the recognition of national and international critics, being selected in the list of the best films made in the Arab cinematographic history.
Abdallah Mohamed Abdelrahman Moussa, N. (2020). Análisis traductológico de los términos culturales en la subtitulación árabe-español [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/159276
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Brammall, Sheldon. "Translating the Prince of Poets : the politics of the English translations of the Aeneid, 1558-1632". Thesis, University of Cambridge, 2012. https://www.repository.cam.ac.uk/handle/1810/283905.

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