Artigos de revistas sobre o tema "Pandi, 1950- – Translations into English"

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

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

A different name than English literature, ‘Anglo-Indian Literature’, was given to the body of literature in English that emerged on account of the British interaction with India unlike the case with their interaction with America or Australia or New Zealand. Even the Indians’ contributions (translations as well as creative pieces in English) were classed under the caption ‘Anglo-Indian’ initially but later a different name, ‘Indo-Anglian’, was conceived for the growing variety and volume of writings in English by the Indians. However, unlike the former the latter has not found a favour with the compilers of English dictionaries. With the passage of time the fine line of demarcation drawn on the basis of subject matter and author’s point of view has disappeared and currently even Anglo-Indians’ writings are classed as ‘Indo-Anglian’. Besides contemplating on various connotations of the term ‘Indo-Anglian’ the article discusses the related issues such as: the etymology of the term, fixing the name of its coiner and the date of its first use. In contrast to the opinions of the historians and critics like K R S Iyengar, G P Sarma, M K Naik, Daniela Rogobete, Sachidananda Mohanty, Dilip Chatterjee and Gayatri Chakravorty Spivak it has been brought to light that the term ‘Indo-Anglian’ was first used in 1880 by James Payn to refer to the Indians’ writings in English rather pejoratively. However, Iyengar used it in a positive sense though he himself gave it up soon. The reasons for the wide acceptance of the term, sometimes also for the authors of the sub-continent, by the members of academia all over the world, despite its rejection by Sahitya Akademi (the national body of letters in India), have also been contemplated on. References Alphonso-Karkala, John B. (1970). 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(Eds.) (1997). The Vintage Book of Indian Writing 1947 – 1997. London: Vintage. Sampson, George. (1959 [1941]). Concise Cambridge History of English Literature [The]. Cambridge: UP. Retrieved from: https://archive.org/details/in.ernet.dli.2015.18336. Sarma, Gobinda Prasad. (1990). Nationalism in Indo-Anglian Fiction. New Delhi: Sterling. Singh, Kh. Kunjo. (2002). The Fiction of Bhabani Bhattacharya. New Delhi: Atlantic Publishers and Distributors. Spivak, Gayatri Chakravorty. (2012). How to Read a ‘Culturally Different’ Book. An Aesthetic Education in the Era of Globalization, Cambridge, Mass: Harvard University Press. Sturgeon, Mary C. (1916). Studies of Contemporary Poets, London: George G Hard & Co., Retrieved from: https://archive.org/details/in.ernet.dli.2015.95728. Thomson, W S (Ed). (1876). Anglo-Indian Prize Poems, Native and English Writers, In: Commemoration of the Visit of His Royal Highness the Prince of Wales to India. 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Abstract Modern Chinese took the place of classical Chinese and has been the standard form of writing since the early 1920s. While several studies have been carried out on diachronic variation in modern written Chinese, these include few aggregate investigations. This study examines the diachronic variation in modern Chinese writings and translations from the 1900s to the 2000s. Frequencies of multiple linguistic features sensitive to historical change were drawn from a multi-genre comparable corpus, ‘DCMCWT’, containing five periods: 1900–1911, 1919–1930, 1931–1949, 1950–1966, and 1978–2012. Hierarchical agglomerative clustering was employed for periodisation, while multidimensional scaling supplemented the developmental path. The results suggest that Chinese writings and translations fall into three broad periods: 1900–1911, 1919–1966, and 1978–2012. Chinese translations follow a similar evolutionary path as the writings, and the gap between them, narrowed from 1900 to 2012. This developmental path corresponds to the socio-historical backgrounds in Chinese history and shares similarities and differences with the development of English. Diachronic variation in early modern Chinese mirrors that of English in that both languages developed to be more colloquial and interactive. However, early modern Chinese is different from English, as diglossia has played a crucial evolutionary role.

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

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

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

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

The Istituto Superiore per la Conservazione ed il Restauro (ISCR) has always been involved in the diffusion of Cesare Brandi’s restoration theory and practice in the international panorama.Since 1950 Brandi’s theory has spread through model interventions, scientific advice and the tutoring of international students. Those factors lead also to an increase of trust and esteem towards the ISCR.In the 21st century, the ISCR started to be involved in the establishment of new conservation schools by foreign countries. Moreover, it promoted translations of the “Teoria del Restauro” (theory of conservation) book in English, French, German, Spanish, Portuguese, Greek, Serbian, Russian, Chinese, Japanese and Polish. This permitted a deepened understanding and integration in the local culture of Brandi’s theory, rather than the direct execution of the fifties.For those reasons, today the Italian conservator-restorers face the new opportunity and growing perspective: looking at Brandi’s theory in direct contact with the cultural context in which is being applied, through the dialogue with local, highly trained professionals.The importance of this dialogue has become particularly evident during collaborations with eastern countries, with a particular interest in which part of the theory can merge and which will diverge with the religious and cultural principles. Especially, the experience of the ISCR in Ajanta in India (2004-2018) and Kathmandu in Nepal (after the 2013 earthquake) will be discussed.

This article examines the vision of Kashmiri nationalism articulated by Pandit Prem Nath Bazaz, one of the critical contemporaries of Sheikh Abdullah in the 1930s. While scholarly writings and dominant discourses on Kashmiri politics have largely ignored Bazaz, the article argues that Bazaz was one of the chief architects of the introduction and popularisation of an inclusive nationalist narrative in the valley, especially the transformation of the religiously-oriented Muslim Conference into the secular-socialist National Conference. Based on examination of the unexplored writings of Bazaz and his contemporaries, collected from Srinagar-based archives, the article delineates how and to what large extent Bazaz’s politics and ideas influenced Kashmiri politics. These original sources are largely in Urdu and all translations into English are mine.

This study investigates binominals in the Qura’n and the translational challenges posed by them. The study draws mostly on Newmark’s semantic approach translation. The study examines, compares and evaluates the translations of seventeen Qur’anic binominals into English by two well-known translators of the Qur’an: Pickthall (1930), a non-native speaker of Arabic, and Shakir (1983), an Arabic native speaker. The translations were analyzed and evaluated against authoritative Arabic exegeses of the meanings of the Qur’an, such as al-Tabari (1999) and Ibn Kathir (1950). The study concludes that binominals in the Qur'an are of three types: synonymous, antonymous and complementary. The translators also provided adequate translations of these binominals while they failed in few cases Keywords: Qur’an, binominals, Pickthall, Shakir, and translation

Abstract This article explores the first translations of novels by Machado de Assis into English, published in the 1950s and 1960s, understanding them as a complex process that, beyond the drive and dedication of translators and editors, involved political and geopolitical issues associated with the relations between the United States and Latin American countries during and after World War II.

The works of the writer Fedor Sologub have appeared in English translation since 1913. Many of them were published in literary anthologies, a popular means for bringing aspects of a literature to readers who do not read the original language. Before 1950, Sologub was featured mostly in general collections, which usually portray him as Russia’s quintessential decadent author. After 1950, in connection with increased interest in the Russian language, a more diverse range of anthologies was published, many of which were created by scholars with a background in Russian literature. Their portrayal of Sologub, as a result, often was more detailed and nuanced and explored aspects of his poetics beyond his “decadence”. The anthologies themselves included many works that had not previously appeared in English, not only his poetry and prose, but also dramas and theoretical writings. Covering the years 1950-2023, this article discusses the major types of literary anthologies that feature Sologub and examines how they presented him to English-speaking audiences. Attached to the article are bibliographies of anthologies that include Sologub’s works and of the translations that appear in them.

Translation can be impacted by metalinguistic factors that lead translators either to render literal meanings or try their best to communicate what they believe is the intended message of the author of the source text (ST). One of the cases that can best illustrate this situation of the translator is the translation of puns. This study scrutinizes legal puns in Khalil Mutran’s Arabic translations of Shakespeare’s Macbeth, translated in 1950 and Hamlet, translated in 1974. This study aims to investigate how Mutran manipulates the occurrences of puns in the source text when he translates them into Standard Arabic. The study examines puns in the source texts by referring to Shakespeare’s Legal Language: A Dictionary (2004) and Mahood’s Shakespeare's Wordplay (2003), and in the Arabic translations by referring to Faruqi’s English-Arabic Law Dictionary (2008). Results show that Mutran opts for either a literal translation of puns using Standard Arabic terms, a literal translation using legal terms or omission of puns in his translation. Results also indicate that Mutran adopts stage-worthy translation rather than law-worthy one.

This paper investigates the (un)translatability of landscape at the time of the fascist invasion of Ethiopia (1935) as narrated in Ennio Flaiano's A Time to Kill which was published soon after the end of the Second World War (1947). It examines the translations into French and English which were issued soon afterwards (1950) and the film adaptation of the novel (1989). It aims to analyse the causes for the limited international recognition the work received, notwithstanding the stature of the author as both a screenwriter (i.e., Fellini's La Dolce Vita) and playwright. The thematic frame is that of the resistance of a timeless space against colonial penetration. The protagonist's perception of the landscape is punctuated by disorientation, distorted vision and erroneous topography. Cultural remoteness and linguistic distance are enacted on different levels: the intratextual level in the narration; the interlinguistic level in the translation proper; the intersemiotic transposition on the screen; and the subsequent dubbing and subtitling. Likewise, the indefiniteness of spatial perception and shifting viewpoints in the novel weave through metaphors, self-questioning by the narrator, challenging translation and film adaptation. The voice-over effect is not activated, thus diluting climax, as the story is a first-person narrative. Moreover, due to the Derg regime, the film could not be shot in Ethiopia, which ruled out any recognition of the geographic, religious and cultural identity of the country.

Abstract: This article discusses manifestations of multilingualism in two Lithuanian novels, Balta drobulė (White Shroud (1958) by Antanas Škėma and a more recent Stasys Šaltoka: Vieneri metai (Stasys Šaltoka: A Year) (2017) by Gabija Grušaitė, and their translations into English, both published in 2018, White Shroud by Karla Gruodis and Cold East by Kipras Šumskas. The texts are analysed addressing both their cultural and socio-historical contexts and their aesthetic form and expression, in which multilingualism plays an important role. Drawing on theoretical propositions about multilingualism by Werner Helmich (2016), Till Dembeck (2017) and others, as well as about multilingualism in translation by Rainier Grutman (1998; 2006) and Reine Meylaerts (2006; 2013), this paper discusses the various manifestations of multilingualism in the selected literary texts and the ways they are conveyed in the English translations, focusing on the functions multilingual patterns perform in the original novels and how these patterns are adjusted in their translations. Migrandi kuju ja mitmekeelsuspraktikad valitud leedu romaanides ning nende tõlgetes inglise keelde: Antanas Škėma „Balta drobulė“ ja Gabija Grušaitė „Stasys Šaltoka“ Artiklis käsitletakse kahe eri põlvkondadesse kuuluva leedu kirjaniku romaane, milles võõrkeelsed (peamiselt ingliskeelsed) sõnad, väljendid ning mõnikord terved lausekogumid tungivad leedukeelsesse teksti, kutsudes esile mitmesuguseid efekte. Käsitletavateks teosteks on Antanas Škėma (1910–1961) leedu klassikasse kuuluv „Balta drobulė“ („Valge surilina“, 1958) ning Gabija Grušaitė (s. 1987) uuem „Stasys Šaltoka: Vieneri metai“ („Stasys Šaltoka: üks aasta“, 2017). Mõlema teksti ingliskeelsed tõlked ilmusid 2018. aastal: „Balta drobulė“ tõlkijaks oli Karla Groudis ja tõlkepealkirjaks „White Shroud“ („Valge surilina“) ning „Stasys Šaltoka“ tõlkis Kipras Šumskas pealkirja „Cold East“ („Külm ida“) all. Mõlemad romaanid keskenduvad Leedu immigrandi kujule multikultuurses metropolis New Yorgis kahel ajaperioodil, 1950. ja 2010. aastatel, mis vastavad leedulaste väljarändamislainetele läände. Tekste analüüsitakse, pidades silmas nii nende ajaloolis-sotsiaalset/kultuurikonteksti kui ka esteetilist kuju ja väljenduslaadi, milles mitmekeelsus mängib olulist rolli. Werner Helmichi (2016), Till Dembecki (2017) ja teiste autorite mitmekeelsust puudutavatele teoreetilistele seisukohtadele ning Rainier Grutmani (1998; 2006) ja Reine Meylaertsi (2006; 2013) tõlkes esile tulevat mitmekeelsust puudutavatele väidetele toetudes käsitletakse artiklis mitmesuguseid mitmekeelsusilminguid valitud romaanides, eriti eksplitsiitset koodivahetust (kuidas seda markeeritakse, paigutatakse, lõimitakse, põhjendatakse jne). Samuti uuritakse mitmekeelsuse vahendamise viise (väljajätt, säilitamine, teisendamine jne) nende tekstide tõlgetes inglise keelde, keskendudes funktsioonidele, mida mitmekeelsed struktuurid täidavad algtekstides, ning sellele, kuidas neid struktuure tõlgetes rekonfigureeritakse. Käsitlus algab romaanide põgusa temaatilise võrdlemisega, keskendudes uue maa teistsuguses keele- ja kultuuriruumis teed otsiva migrandi kujule. Analüüs lähtub Salman Rushdie (1991) väljapakutud kolme „katkestuse” kirjeldusest, mis defineerivad migrandi kuju: kodukoha kaotus, teistsugusesse, tihti „võõrasse“ keeleruumi sisenemine ning uute ühiskondlike normide ja koodidega kohanemine. Nii Škėma kui ka Grušaitė romaanide peategelasi puudutavad need katkestused, ehkki eri moel, sest nad viibivad erisugustes tingimustes: kui Škėma peategelane Garšva on II maailmasõja järgne pagulasimmigrant, kelle jaoks ümberpaiknemine on ellujäämisvahend, on Grušaitė romaani Šaltoka nüüdisaegne kosmopoliitne nomaad, kes migreerub ühest riigist teise ja ühelt kontinendilt teisele, nagu soovib, ühegi kohaga tugevamat sidet loomata. Mõlemad romaanid kasutavad mitmekeelsust, edastamaks tegelaste kogemusi teistesse kultuuriruumidesse „sisenemisel“, sest ühest keelest ei piisa, et väljendada tegelaste reaktsioone ning vastuseid neile. Mitme keele ja nendevaheliste suhete üheaegne kohalolu romaanide tekstiruumis viitab seega viisidele, kuidas tegelased end ümberasustamise ja ebamugavuse (Garšva), ent ka tegelase enda valikutest lähtuva juurtetuse ning nomaadluse (Šaltoka) olukorras (ümber) defineerivad. Artikli järgnevates osades keskendutakse mitmete keelte kasutamisele romaanides kui vahendile, mille abil migrantidest peategelaste poolt multikultuurse metropoliga kohanemisel kogetavat (eba)mugavust edastatakse nii algteostes kui ka nende tõlgetes inglise keelde. Kõigepealt käsitletakse lühikeses teoreetilises osas peamisi seisukohti, mis puudutavad kirjanduslikku mitmekeelsust ja tõlget või selle ilmnemist tõlkes, kriipsutades alla keelte segunemise konstrueeritust kirjandustekstides (Grutman 2006) ja järelikult ka nende tõlgetes. Alaosas kasutatakse Helmichi (2016) ja Dembecki (2017) mitmekeelsuse definitsioone ning pööratakse erilist tähelepanu funktsioonidele, mida mitmekeelsus täidab ilukirjanduslikes tekstides (Horn 1981; Dembeck ja Uhrmacher 2016; Dembeck 2017). Selliste funktsioonide uuemates käsitlustes tuuakse esiplaanile „kogetav“ ja „esteetiline“ kirjanduslik mitmekeelsus, mis nendes tekstides on omavahel tihedasti seotud: esimene neist puudutab mitmekeelsusilmingute ühiskondlikke ja kultuurilisi manifestatsioone ning teine tegeleb konkreetsete mitmekeelsete konfiguratsioonide esteetiliste ja retooriliste mustritega (Dembeck ja Uhrmacher 2016; Dembeck 2017). Needsamad aspektid osutuvad oluliseks mitmekeelsete tõlketekstide analüüsimisel. Grutman (1998; 2006) ja Meylaerts (2006; 2013) tuletavad meelde sihtkultuuride ja -riikide kultuuripoliitika rolli, ent rõhutavad ka vajadust nii algteksti kui ka selle konstrueeritavate mitmekeelsete mustrite, nende täidetavate funktsioonide ja saavutatavate efektide kontekstualiseeritud lugemise järele, langetamaks otsuseid selle kohta, kuidas neid mustreid tõlkes rekonfigureerida. Seejärel käsitletakse artiklis mitmekeelsuse temaatilisi („kogetud“) ja esteetilisi funktsioone Škėma ja Grušaitė romaanides. Sage lülitumine keelte, enamasti leedu ja inglise keele vahel varieerub neis nii ulatuselt, eesmärgilt kui ka mõjult, ent mängib mõlemas narratiivis olulist rolli, osutades (eba)mugavuse tasemele, mida tegelased kogevad sotsiaalses ja kultuuriruumis, milles nad elavad. Škėma narratiivis pöördutakse pidevalt mitme keele poole, rõhutamaks muljet ebamugavusest, mida peategelane Garšva kogeb oma hetkeolukorras New Yorgis ning mille jaoks ta alati ei leia leedukeelseid sõnu. Grušaitė narratiiv ning selle järjekindel kakskeelsus näitab, et Šaltoka orienteerub täiesti pingevabalt nii päriselus kui ka virtuaalsuses ilmnevates keele- ja kultuurikoodides, mis ei tarvitse talle alati meeldida, ent mida ta ei koge üle jõu käivatena. Artikli lõpuosas võetakse vaatluse alla eri viisid, kuidas romaanide inglise keelde tõlkijad rekonfigureerivad originaaltekstide mitmekeelsusmustreid reaktsioonina sellele, kuidas nad neid mustreid loevad, mis paratamatult muudab tekstide mitmekeelsusdünaamikat. Tõlkijate valitud strateegiad demonstreerivad, et vaevalt mõjub usutavana või osutub vajalikuks algteksti mitmekeelsusilmingute arvu, paigutuse ja isegi selle teemade ning kujude kopeerimine. Šumskase otsus kõrvaldada Grušaitė kakskeelse romaani tõlkes eksplitsiitne kakskeelsus ning toetuda selle latentsetele kujudele taasloob jutustaja sujuvat toetumist mõlemale keelele. Gruodise põhjalikud katsed säilitada lähteteksti iseloomustavaid pingeid leedu ja inglise keele vahel annavad tulemuseks nende nihutamise jutustaja poolt kogetavatele New Yorgi reaalidele keskenduvast narratiivsest peajoonest tema mälestustesse Leedust, selle rahvast ja mütoloogilisest pärandist, mis on vastuolus Ameerika metropoliga. Tõlkes konkreetse teksti modaalsustele tähelepanu pöörates võib esiplaanile tuua erisuguseid motiive ja aspekte; keeltevahelisi pingeid on algtekstis ilmnevatega võrreldes võimalik leevendada või intensiivsemaks muuta, ent tulemuseks võivad olla ka uued efektid.