Добірка наукової літератури з теми "French-Chinese translation"
Оформте джерело за APA, MLA, Chicago, Harvard та іншими стилями
Ознайомтеся зі списками актуальних статей, книг, дисертацій, тез та інших наукових джерел на тему "French-Chinese translation".
Біля кожної праці в переліку літератури доступна кнопка «Додати до бібліографії». Скористайтеся нею – і ми автоматично оформимо бібліографічне посилання на обрану працю в потрібному вам стилі цитування: APA, MLA, «Гарвард», «Чикаго», «Ванкувер» тощо.
Також ви можете завантажити повний текст наукової публікації у форматі «.pdf» та прочитати онлайн анотацію до роботи, якщо відповідні параметри наявні в метаданих.
Статті в журналах з теми "French-Chinese translation"
1
Xavier, Subha. "The global afterlife: Sino-French literature and the politics of translation." French Cultural Studies 30, no. 2 (May 2019): 153–65. http://dx.doi.org/10.1177/0957155819842980.
Повний текст джерелаАнотація:
Following the critical acclaim of Sino-French literature in recent years, an increasing number of Chinese presses have solicited translations of prize-winning novels written in French by authors of Chinese descent. Yet as the work of authors like François Cheng, Shan Sa, Ya Ding and Dai Sijie travels from French into Chinese, it also undergoes a transformation via the politics of translation and publication in China. This essay exposes the inner workings of translation between French and Chinese, as well as the politics that colour its publication and reception between France and China. The act of translating these works back into their authors’ native tongue signals a return to the national paradigms the writers initially sought to evade by writing in French. Translation here functions as a form of aggression, a forced return home that ultimately breaks with the poetic ethos that animates the original creative works.
2
Liu, Chao Peng. "Research on Web Application Technology for Building a Chinese-French Parallel Corpus of the Four Great Chinese Classical Novels." Applied Mechanics and Materials 473 (December 2013): 206–10. http://dx.doi.org/10.4028/www.scientific.net/amm.473.206.
Повний текст джерелаАнотація:
As masterpieces in Chinese classical literature, the Four Great Chinese Classical Novels with their multilingual translations have exerted a profound influence in literature and translation studies both home and abroad. Building a Chinese-French bilingual parallel corpus of the Four Great Chinese Classical Novels is believed to facilitate large-scale investigations into the original Chinese text and their French translations in terms of stylistics, diction, culture and translation techniques. In this paper, we introduced the French translations of the four novels and illustrated the process of building the parallel corpus in detail. When the parallel corpus is completed, statistical analysis can thereby be carried out by employing different corpus tools. In order to enhance the availability and convenience of the parallel corpus, a web-based query platform is designed to provide world-wide search through the Internet for interested researchers and language learners.
3
Bi, Yanjing. "Interprétation et traduction des phraséologismes du chinois vers le français : le cas du roman Beaux seins, belles fesses de MO Yan." Les phraséologismes pragmatiques, no. 29 (December 1, 2021): 157–72. http://dx.doi.org/10.54563/lexique.153.
Повний текст джерелаАнотація:
The fixed expression has become, since the second half of the twentieth century, one of the greatest objects of study of linguistics and translation. As a special category of Chinese phraseology, chéngyŭ (a type of chinese idiom) are more difficult for translators because of their intralinguistic and extralinguistic specificities. This study is based on concrete cases of chéngyŭ translations by analyzing a bilingual corpus made up of this category of phraseologisms in Chinese (source language) and their translations into French (target language). The corpus is extracted from a Chinese literary work and its translation into French. In this study, we will discuss the definition and characteristics of chéngyŭ. Then, we will analyze our corpus, firstly to have a general idea of the translation of this literary work based on authentic data, secondly to analyze more closely the different adaptation strategies adopted by the translators in order to provide reflections on how to transcribe chinese phraseologisms into French.
4
Xiaoyan, Liang, Wang Kailun, and Dominic Glynn. "Translating and publishing French theatre in China." Francosphères: Volume 10, Issue 2 10, no. 2 (December 1, 2021): 225–43. http://dx.doi.org/10.3828/franc.2021.16.
Повний текст джерелаАнотація:
This article examines transformations in the literary translation environment in the People’s Republic of China (PRC) specifically in relation to French-language theatre. After an initial survey of literary translation in the PRC from its foundation to the present, the article studies how French-language plays have been translated and adapted for publication. In particular, it considers how French theatre has occupied a favoured position in the Chinese translation literary system over the past four decades. It then focuses on three emblematic cases, those of Molière, Jean-Paul Sartre, and Samuel Beckett. Regarding the latter, two Chinese translations of En attendant Godot/Waiting for Godot will be examined to determine how contextual factors affected translation choices. In this way, the article seeks both to contribute to current discussions on ‘translatability’ and to consider the reception of canonical French-language writers in the Chinese literary system.
5
Wang, Mingxing. "Translation, Rewriting and Creation: Interview of Professor Noël Dutrait, Translator of Gao Xingjian’s Lingshan (La Montagne de l’âme)." TranscUlturAl: A Journal of Translation and Cultural Studies 12, no. 2 (September 30, 2020): 39–49. http://dx.doi.org/10.21992/tc29504.
Повний текст джерела
6
Mehdizadkhani, Milad, and Luyu Chen. "Chinese audiovisual translation." FORUM / Revue internationale d’interprétation et de traduction / International Journal of Interpretation and Translation 21, no. 1 (July 6, 2023): 96–114. http://dx.doi.org/10.1075/forum.00028.meh.
Повний текст джерелаАнотація:
Abstract The increasing use of multilingualism in audiovisual products, especially feature films, has attracted attention from audiovisual translation (AVT) scholars; however, such research is missing in the Chinese AVT context. This paper strived to fill this niche by exploring the common methods of the rendition of a third language (L3) in Chinese dubbing, subtitling, and fansubbing. The corpus of the study comprised six English-speaking feature films alongside their fan and professional-created Chinese subtitles and dubs available online, and its contents was mainly selected based on two criteria: (i) the L3s used, for example, French, Indian, Swahili, Xhosa, and Russian, and (ii) the availability of fan and pro-produced Chinese subtitles and dubs. For dubbing, the analysis of the corpus revealed that the Chinese professional dubbing team marked the L3s in a few cases but applied translational patterns inconsistently. the comparison of the pro- and fansubs demonstrated that both did not mark the L3s in their translations and that professional subtitlers performed better than the fansubbers in the rendition of multilingualism in terms of graphic codes and the original films’ storytelling.
7
Wong, Laurence. "Translating Shakespeare’s imagery for the Chinese audience." Babel. Revue internationale de la traduction / International Journal of Translation 57, no. 2 (July 21, 2011): 204–25. http://dx.doi.org/10.1075/babel.57.2.05won.
Повний текст джерелаАнотація:
Generally speaking, the message of a poem is conveyed on three levels: the semantic, the syntactic, and the phonological. How translatable each of these levels is to the translator depends on how much cognation there is between source and target language: the more cognation there is, the more translatable each of these levels. Thus, in respect of all three levels, translation between languages of the same family, such as English and French, both of which belong to the Indo-European family, is easier than translation between languages of different families, such as English and Chinese, which belong respectively to the Indo-European and the Sino-Tibetan family. If a further distinction is to be made, one may say that, in translation between Chinese and European languages, the semantic level is less challenging than both the syntactic and the phonological level, since syntactic and phonological features are language-bound, and do not lend themselves readily to translation, whereas language pairs generally have corresponding words and phrases on the semantic level to express similar ideas or to describe similar objects, events, perceptions, and feelings. As an image owes its existence largely to its semantic content, the imagery of a poem is easier to translate than its phonological features. Be that as it may, there is yet another difference: the difference between the imagery of non-dramatic poetry and the imagery of poetic drama when it comes to translation. With reference to Hamlet and its versions in Chinese and in European languages, this paper discusses this difference and the challenges which the translator has to face when translating the imagery of poetic drama from one language into another; it also shows how translating Shakespeare’s imagery from English into Chinese is more formidable than translating it from English into other European languages.
8
Trakhtenberg, Lev A. "O. Goldsmith’s Oriental Parable in the Magazine Ni To Ni Sio (Neither This Nor That)." Studia Litterarum 6, no. 1 (2021): 382–95. http://dx.doi.org/10.22455/2500-4247-2021-6-1-382-395.
Повний текст джерелаАнотація:
The essay argues that the oriental parable “Ziou-Zioung. A Chinese Anecdote” published in No. 9 of the magazine Ni To ni Sio (“Neither This nor That”) on April 25, 1769, is a fragment of “The Citizen of the World, or Letters from a Chinese Philosopher” by Oliver Goldsmith (1760–1761, book edition 1762), translated with some changes. The translation is presumably attributed to Fyodor Lazinsky. The paper traces the way of Goldsmith’s plot from the English original to the Russian version. The parable is taken from the French translation of Goldsmith’s book by P. Poivre (1763) and reprinted in the magazine Recueil pour l’esprit & pour le cœur under the title “Ziou-Zioung” (1764). The text of the French magazine is translated into German; it appears in Berlinisches Magazin (1765), from where it is borrowed by the Russian translator. The separation from the original context and a chain of transformations in successive translations, although each of these transformations is minor leads to a substantial change of meaning. While Goldsmith aims his satire at those who are proud of unworthy things, German and Russian versions condemn pride as such.
9
Wong, Laurence. "Musicality and Intrafamily Translation: With Reference to European Languages and Chinese." Meta 51, no. 1 (May 29, 2006): 89–97. http://dx.doi.org/10.7202/012995ar.
Повний текст джерелаАнотація:
Abstract Most practitioners of translation agree that translation is at best an ersatz, able to get across only part of the source text’s meaning, which is meaning on two levels: the semantic and the phonological. Even in translating an apparently simple lexical item, to say nothing of long stretches of discourse, they are keenly aware of what is being left out. On the semantic level, for example, the denotation of a lexical item may sometimes be preserved almost intact. However, its connotations, associations, or nuances, which can elicit subtle responses from readers of the original, often defy the process of carrying over or across, which is what transferre, the Latin word from which translate is derived, means. Yet, compared with musicality, a feature on the phonological level, all features on the semantic level will become relatively easy. With reference to translations of Dante’s Divine Comedy in Spanish, French, Latin, English, German, and Chinese, as well as translations of Shakespeare’s Macbeth in Italian, this paper discusses musicality as the most recalcitrant of all features in a source-language text, and attempts to show how, depending on factors to be examined in detail, intrafamily translation, that is, translation between languages of the same family, can capture the original music with varying degrees of success.
10
Pospiszil, Karolina. "Bibliografia przekładów na język śląski w latach 2002—2018 / Bibliography of translations into the Silesian language in the years 2002—2018." Przekłady Literatur Słowiańskich 9, no. 2 (May 30, 2019): 103–18. http://dx.doi.org/10.31261/pls.2019.09.02.06.
Повний текст джерелаАнотація:
The bibliography includes translations into the Silesian language made both in the standard script as well as in the non-standard one. The starting point for translations into the contemporary Silesian may be dated back to 2002. Since then, there have been irregularly published, usually in the form of collections, translations of various literary genres (with a preponderance of poetic forms) from dozen or so world languages, such as: Greek, Latin, French, German, Polish, Mandarin Chinese, English, Welsh, Russian, or the Upper Sorbian. No single translation from Silesian into other language is included, since heretofore no such a translation has been made.
Дисертації з теми "French-Chinese translation"
1
Wang, Yu. "La réception des anthologies de poésie chinoise classique par les poètes français (1735-2008)." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040041.
Повний текст джерелаАнотація:
Notre thèse est consacrée à la réception de la poésie chinoise classique chez les poètes français à travers notamment les anthologies. Elle est divisée chronologiquement en trois parties. La Partie I couvre la période 1735-1860, antérieure à la première anthologie de poésie chinoise et où il n’est donc question que de morceaux choisis. Nous estimons que cette partie est indispensable sur les plans à la fois historique et comparatif. Sans elle, nous apprécierions peut-être moins l’arrivée des anthologies et leur contribution à l’évolution de la réception de la poésie chinoise chez les lecteurs-poètes. La Partie II commence par la parution de Poésies de l’époque des Thang. Nous débutons ainsi par un aperçu général des anthologies parues entre 1862 et 1949. Puis nous abordons la traduction de cette période et les anthologies majeures. Nous entrons par la suite dans le vif du sujet qu’est la réception de ces anthologies chez les lecteurs-poètes, tels que Paul Claudel, Segalen et Saint-John Perse. La Partie III concerne la période 1953-2008. Nous abordons d’abord la diffusion et la traduction des anthologies de cette période. Puis nous parlons en détail des trois sortes d’anthologies produites par les traducteurs professionnels, les sinologues et les poètes, sans oublier de réserver un chapitre à des anthologies majeures. Enfin, nous étudions les poètes contemporains qui lisent la poésie chinoise traduite avec leurs différentes modalités de réception. Dans la réception, le plus intéressant n’est peut-être pas de connaître la poésie chinoise classique mais bien de s’interroger sur la façon dont les poètes français l’interprétèrent. Nous espérons avoir pu répondre à cette interrogation à travers le long parcours historique déployé dans cette thèseThis thesis addresses the reception of Classical Chinese poetry by French poets, particularly by means of anthologies. It is organised chronologically in three parts. Part One covers the period 1735–1860, before the first anthology of Chinese poetry, and is therefore concerned only with excerpts. An understanding of this first period is essential if we are to appreciate the significance of the anthologies that followed, and their role in the changing reception of Chinese poetry by reader-poets. Part Two begins with the publication of the anthology Poésies de l’époque des Thang. After a general overview of the anthologies published between 1826 and 1949, there is a more detailed account of translation practices over this period, and of the most influential anthologies. It is then possible to address the central issue of this thesis: the reception of these anthologies by reader-poets, such as Paul Claudel, Victor Segalen and Saint-John Perse. Part Three is concerned with the period 1953–2008. Following an account of the dissemination and translation practices of anthologies from this period, there is a detailed discussion of the three types of anthologies produced by professional translators, Sinologists and poets respectively, and a further chapter is devoted to the most influential anthologies. Finally, a study is made of contemporary poets who read Chinese poetry in translation, and of their different forms of reception. This reception is of interest, not so for much for what it tells us about Chinese poetry itself, but rather for the way it has been interpreted by French poets. The long historical trajectory of this thesis provides an important insight into this interpretation of Chinese poetry
2
Zhang, Jing. "Stratégie de la traduction, problème du style, analyses de la réception d’À la Recherche du temps perdu en Chine"." Thesis, Perpignan, 2019. http://www.theses.fr/2019PERP0023.
Повний текст джерелаАнотація:
Ce travail s’attachera au questionnement, le comment des stratégies de la traduction littéraire moderne face au style de l’œuvre de Proust ainsi qu’à l’analyse des raisons des choix des traducteurs et des différents effets qu’elles produisent. L’examen du développement de la traduction et de la réception de Proust en Chine permet d’apercevoir les interactions actives entre la traduction de Proust et les contextes multidimensionnels en mouvance en Chine, ainsi que les impacts réciproques des activités de traduction sur les études proustiennes et les créations littéraires chinoises. En comparant systématiquement l’original d’À la Recherche du temps perdu avec ses deux retraductions en langue chinoise argumentées de leurs traitements du style, la thèse tente de mettre à jour certaines modalités propres à la traduction du style de Proust. L’exploitation des stratégies de traduction s’effectuera surtout par le biais de méthodes statistiques et de l’approche proposée par la traductologie de corpus, encore peu appliquées à l’étude de la traduction de Proust mais ayant fait leur preuves quant à leur capacité à fournir des renseignements bien précis sur la structure lexicale et phrastique des deux retraductions en chinois. Grâce à une lecture trans-culturelle de la sociologie et de la linguistique, on découvre que les stratégies choisies pour la traduction du style peut être conduites dans un cas particulier comme celui de Proust jugé intransposable jusqu’à quel degré trans-culturelle. En espérant que les valeurs culturelles et linguistiques révélées seraient source d’enrichissement dans l’étude de la traduction du style, la thèse cherchera à créer plus de points d’entrées concernant ce sujetThis thesis aims at investigating the strategies of literary translation applied to the style of Proust's work, as well as at analyzing the potential reasons for the translation choices and their respective consequences. Through reviewing the translation and reception of Proust's literature in China, we are able to uncover the reciprocal interactions between the translation of Proust's work and the dynamic and multidimensional Chinese environment. It further reveals the interactive impact among the translation of Proust's literature, the studies of Proust’s literary concept and the Chinese literary creations. Systematically comparing the French original text of “In Search of Lost Time” with two Chinese translations, this thesis highlights the distinctive translation choices for the literary style and offers an original methodology to investigate the notion of style in translation. Taking advantage of multiple recently developed statistical methods and corpus-based translation approaches, we are capable to qualitatively and quantitatively investigate the structure of the vocabulary and the syntax in the two Chinese versions. In terms of cross-cultural studies in sociology and linguistics, we are able to detect various attitudes achieved through different translation styles, especially as regards Proust’s so-called “untranslatable” work. The cultural and linguistic values described here can probably enrich the studies and methodologies used to translate literary style
3
Jin, Gan. "Système de traduction automatique français-chinois dans le domaine de la sécurité globale." Thesis, Besançon, 2015. http://www.theses.fr/2015BESA1006.
Повний текст джерелаАнотація:
Dans ce mémoire, nous présentons outre les résultats de recherche en vue d’un système de traduction automatique français–chinois, les apports théoriques à partir de la théorie SyGULAC et de la théorie micro-systémique avec ses calculs ainsi que les méthodologies élaborées tendant à une application sure et fiable dans le cadre de la traduction automatique. L’application porte sur des domaines de sécurité critique tels que l’aéronautique, la médecine, la sécurité civile. Tout d’abord un état de l’art du domaine de la traduction automatique, en Chine et en France, est utile pour commencer la lecture. Les faiblesses des systèmes actuels à travers des tests que nous réalisons prouvent l’intérêt de cette recherche. Nous donnons les raisons pour lesquelles nous avons choisi la théorie micro-systémique et la théorie SyGULAC. Nous expliquons ensuite les problématiques rencontrées au cours de notre recherche. L’ambigüité, obstacle majeur pour la compréhensibilité et la traductibilité d’un texte, se situe à tous les niveaux de la langue : syntaxique, morphologique, lexical, nominal ou encore verbal. L’identification des unités d’une phrase est aussi une étape préalable à la compréhension globale, que cela soit pour un être humain ou un système de traduction. Nous dressons un état des lieux de la divergence entre la langue française et la langue chinoise en vue de réaliser un système de traduction automatique. Nous essayons d’observer la structure aux niveaux verbal, nominal et lexical, de comprendre leurs liens et leurs interactions. Egalement nous définissons les obstacles sources d’entrave à la réalisation de cette recherche, avec un point de vue théorique mais aussi en étudiant notre corpus concret. Le formalisme pour lequel nous avons opté part d’une étude approfondie de la langue utilisée dans les protocoles de sécurité. Une langue ne se prête au traitement automatique que si elle est formalisée. De ce fait, nous avons procédé à l’analyse de plusieurs corpus bilingues français/chinois mais aussi monolingues émanant d’organismes de sécurité civile. Le but est de dégager les particularités linguistiques (lexicales, syntaxiques, …) qui caractérisent la langue de la sécurité en général et de recenser toutes les structures syntaxiques qu’utilise cette langue. Après avoir présenté la formalisation de notre système, nous montrons les processus de reconnaissance, de transfert et de générationIn this paper, in addition to our research results for a French-Chinese machine translation system, we present the theoretical contributions from the SyGULAC theory and from the micro-systemic theory with its calculations as well as the methodologies developed aimed at a secure and reliable application in the context of machine translation. The application covers critical safety areas such as aerospace, medicine and civil security.After presenting the state of the art in the field of machine translation in China and France, the reasons of the choice of the micro-systemic theory and SyGULAC theory are explained. Then, we explain the problems encountered during our research. The ambiguity, which is the major obstacle to the understandability and to the translatability of a text, is present at all language levels: syntactic, morphological, lexical, nominal and verbal. The identification of the units of a sentence is also a preliminary step for global understanding, whether for human beings or for a translation system. We present an inventory of the divergences between the french and the chinese language in order to achieve an machine translation system. We try to observe the verbal, nominal and vocabulary structure levels, in order to understand their interconnections and their interactions. We also define the obstacles to this research, with a theoretical point of view but also by studying our corpus.The chosen formalism starts from a thorough study of the language used in security protocols. A language is suitable for automatic processing only if this language is formalized. Therefore, An analysis of several French/Chinese bilingual corpora, but also monolingual, from civil security agencies, was conducted. The goal is to find out and present the linguistic characteristics (lexical, syntactic ...) which characterize the language of security in general, and to identify all the syntactic structures used by this language. After presenting the formalization of our system, we show the recognition, transfer and generation processes
4
Cheng, Meng. "Les parties du discours dans la traduction français-chinois." Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUL071.
Повний текст джерелаАнотація:
Cette thèse vise à étudier la transposition des parties du discours dans la traduction français-chinois. La transposition, un des principaux procédés de traduction, consiste à « remplacer une partie du discours par une autre, sans changer le sens du message » (Vinay & Darbelnet, 1958). Ce procédé est souvent utilisé dans la traduction français-chinois. Nous allons présentons d’abord sur le développement des études grammaticales chinoises et les principales parties du discours chinoises en déterminant les rapports syntagmatiques et paradigmatiques d’une unité. Ensuite, nous montrons l’analyse des transpositions les plus fréquents des parties du discours dans la traduction français-chinois et nous remarquons que la transposition, étroitement liée aux champs lexicaux, est souvent utilisée pour résoudre les différences dans le fonctionnement des systèmes grammatico-syntaxiques des deux langues. Enfin, nous résumons nos principales réflexions à l’issue de notre thèse basée sur des analyses contrastives de corpus et mettrons en exergue les futures pistes de rechercheThe aim of this thesis is to study the transposition of parts of speech in French-Chinese translation. Transposition, one of the main translation techniques, which consists of replacing one part of speech with another without changing the meaning of the message (Vinay J.-P., Darbelnet. J. 1958), This technique is often used in French-Chinese translation. In this study, we first present the development of Chinese grammatical studies and the main Chinese parts of speech, by determining the syntagmatic and paradigmatic relationships of a unit. Next, we analyze the most frequent transpositions of parts of speech in French-Chinese translation. We find that transposition, closely related to lexical fields, is often used to resolve differences in the functioning of grammatical-syntactic systems between the two languages. Finally, we summarize our main reflections based on contrastive corpus analyses and highlight future research directions
5
Yuan, Wei. "La traduction des romans français en Chine (1993-2017) :Champs, agents et paysages littéraires." Doctoral thesis, Universite Libre de Bruxelles, 2020. https://dipot.ulb.ac.be/dspace/bitstream/2013/314399/3/Contrat.pdf.
Повний текст джерелаАнотація:
Ce travail aborde la place de la littérature française en Chine en retraçant les parcours de traduction des romans français contemporains. Ce processus de traduction s’est vu transformé à partir de la fin 1992, lorsque la Chine a adhéré aux conventions internationales des droits d’auteur. Inspirée par l’approche sociologique de la traduction, cette thèse adopte les outils conceptuels de Pierre Bourdieu et propose une étude sur la base d’une recherche de terrain et de l’analyse quantitative des statistiques de première main. Il s’agit ainsi d’identifier les agents de la traduction d’œuvres romanesques françaises en Chine à travers un mécanisme façonné par la structure sociale, et de chercher à comprendre qui traduit et quoi dans ce processus conditionné. À travers une première partie qui retrace l’histoire de la traduction littéraire en Chine avec les outils bourdieusiens, nous constatons que peu importe qui domine la traduction – les écrivains, les traducteurs, l’État ou les académiques – la littérature traduite du français véhicule habituellement un riche capital symbolique en Chine. Nous argumentons dans une deuxième partie que l’introduction de la logique du marché depuis 1993 a refaçonné le rapport de force entre les différents agents, et a poussé l’éditeur à jouer un rôle relativement décisif – même si toujours sous contrôle de l’État. Par conséquent, la production commerciale est largement renforcée. Dans ce paysage, la situation des romans français semble en décalage. Nous dévoilons dans la troisième partie que sur le plan du processus, elle mobilise surtout des agents formés par le champ académique et qui ont pour vocation de se lancer plutôt dans la littérature de production restreinte que dans la littérature de grande production, comme l’étude du catalogue de l’éditeur le plus actif du domaine (Shanghai 99) en témoigne. Le panorama des auteurs contemporains traduits présenté dans la quatrième partie relativise la présomption que les œuvres françaises traduites sont concentrées dans le pôle de traduction restreinte :les best-sellers français sont également traduits, mais ils ne se vendent pas bien en Chine. Cependant, nous observons tout de même que les auteurs français au lectorat plus restreint ont pu trouver un éditeur chinois qui correspond à leur genre littéraire et faire traduire leurs œuvres systématiquement. En somme, nous argumentons qu’en Chine aujourd’hui, les romans français ne sont pas moins traduits, mais ils sont plutôt gérés par des agents qui se situent dans le sous-champ de production restreinte, dans un équilibre de force entre le champ académique et le champ économique.This work addresses the place of French literature in China by tracing the translation routes of contemporary French novels. The translation process was transformed at the end of 1992, when China signed two important international conventions of copyright. Inspired by the sociological approach of Translation Studies, this thesis adopts the conceptual tools of Pierre Bourdieu and proposes a study based on field research and quantitative analysis of first-hand statistics. The goal is thus to illustrate the translation mechanism shaped by the social structure, to identify the agents and to understand who translates what in this conditioned process. In the first section which traces the history of literary translation in China with Bourdieu's tools, we note that no matter who dominates the translation - writers, translators, the State or academics - the French literature conveys usually a rich symbolic capital in China. We argue in the second part that the introduction of a market economy in 1993 has reshaped the power relation between the various agents, and pushed the editors and publishers to play a relatively decisive role - even if still under state control. Therefore, commercial production is greatly enhanced. In this landscape, the situation of French novels seems out of step. We reveal in the third part that in terms of working process, French novels mobilize special agents trained by the academic field whose vocation lies in the literature of small-scale production rather than the large-scale production, and this observation is testified by analyzing the catalog of the most active publisher in the field (Shanghai 99). The fourth part presents a panorama of contemporary French authors who’s been translated, and realizes the presumption that French translated works are concentrated in the restricted pole: French bestsellers are also translated, but they do not sell well in China. However, we still observe that French authors with a limited readership have been able to find a Chinese publisher who corresponds to their literary genre and have their works translated systematically. In short, we argue that in China today, French novels are no less translated, but they are rather managed by agents who are located in the sub-field of small-scale production, in a balance of power between academic field and economic field.
Doctorat en Langues, lettres et traductologie
info:eu-repo/semantics/nonPublished
6
Yang, Lu, and 楊露. "On revolutionary road : translated modernity, underground reading movement and the reconstruction of subjectivity, 1970s." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2013. http://hdl.handle.net/10722/196020.
Повний текст джерелаАнотація:
Translating and reading western modernist literature played a vital role in forging contemporary Chinese literature and China’s mode of subjectivity, but little has been written about them, and even less about the interconnections between them. My PhD thesis aims to offer a comprehensive interpretation of the phenomenon of translating and reading modernist literature in Mao’s China, focusing particularly on translators’ and readers’ agency, and their collective construction of a multifaceted discourse of subjectivity. The central questions I try to answer in my thesis are: For what “practical” purposes or needs did the Chinese Communist Party order the translation and publication of these modernist texts which are clearly against the ideology of Mao’s China? What mark did translators from state controlled institutions leave in the intellectual history of China? Why did western modernist literature of 1950s cause such a strong response from the intellectual youth in the 1970s?
In Mao’s China, there were a number of modernist literature texts that were translated and published. They were only intended to be available for a very limited readership consisting of high ranking party officials, but ended up being leaked, and eventually became extremely popular in the underground reading movement. I decided to focus on the three most widely read texts, which are On the Road (first translated into Chinese in 1962), Catcher in the Rye (first translated into Chinese in 1963), and Waiting for Godot (first translated into Chinese in 1965). By mapping the translation process and the underground reading of these texts into the context of the politics of China from the early 1960s to the late 1970s, my study provides three arguments which attempt to answer the three questions raised above: 1) Mao’s China encountered similar modernity situations so that western modernist literature after World War II was translated for internal circulation and criticism; 2) Thanks to the subjectivity of translators from state controlled institutions, their translations paved the way for the rising of the self, the end of revolution, and the individualization of Chinese society; 3) As early as in the 1960s to 1970s, the conscious reading of modernist literature brought alternative understandings of self and ways of being, and the sent-down Chinese youth have new self-projection by reading these texts.
Few researchers have studied translation beyond analysis of target language text (TLT), while my methodological innovation is to connect three traditionally isolated subjects into a single continuing process of meaning giving activity: the source text and their role in forging western subjectivity; translators and their translations in Mao’s context; and Chinese underground reading of western literature from late 1960s to 1970s.
This is a comparative and theoretical study of the three chosen texts in their historical contexts in order to reconsider the cultural significance of translating and reading modernist literature in Mao’s China. I hope it will modify our view of translation and reading history in Mao’s China, contributing to theories of subjectivity and the plurality of Chinese modernity discourse.published_or_final_version
Chinese
Doctoral
Doctor of Philosophy
7
Miao, Jun. "Approches textométriques de la notion de style du traducteur : Analyses d'un corpus parallèle Français-Chinois : Jean-Christophe de Romain Rolland et ses trois traductions chinoises." Phd thesis, Université de la Sorbonne nouvelle - Paris III, 2012. http://tel.archives-ouvertes.fr/tel-00846619.
Повний текст джерелаАнотація:
Nous avons tenté d'explorer la notion de style du traducteur en articulant les analysestraductologiques et les méthodes de la textométrie multilingue (méthodes d'analysequantitatives textuelles appliquées à des corpus de textes alignés). Notre corpus d'étude est constitué par trois traductions chinoises d'une oeuvre littéraire française, Jean-Christophe de Romain Rolland (1904-1917), réalisées respectivement par Fu Lei (1952-1953), Han Hulin(2000) et Xu Yuanchong (2000). Après une description des difficultés inhérentes à la construction d'un corpus parallèle français-chinois, nous effectuons successivement diverses mesures textométriques sur ce corpus, dans le but de mettre en évidence des usages lexicaux et syntaxiques propres à chacun des traducteurs. La remise en contexte dans le corpus parallèle des différences statistiques des phénomènes linguistiques entre traductions et l'examen des facteurs socioculturels relatifs à chacune des époques font ressortir des indicateurs du style de chaque traducteur. La recherche détaillée de type traductologique, portant sur les particules chinoises, appuyée sur des comparaisons textométriques, fournit une série d'indices révélant des approches spécifiques à chacun des traducteurs dans son travail. Les résultats de cette enquête, menée à travers la comparaison des trois versions chinoisesentre elles, puis avec le texte original français jettent les bases d'une proposition de modèle d'analyse centré sur le style du traducteur. Nous pensons que notre travail ouvre une voie à une exploration scientifique et systématique de la notion de style du traducteur dans le cadre traductologique.
8
Wang, Lingxiao. "Outils et environnements pour l'amélioration incrémentale, la post-édition contributive et l'évaluation continue de systèmes de TA. Application à la TA français-chinois." Thesis, Université Grenoble Alpes (ComUE), 2015. http://www.theses.fr/2015GREAM057/document.
Повний текст джерелаАнотація:
La thèse, effectuée dans le cadre d'une bourse CIFRE, et prolongeant un des aspects du projet ANR Traouiero, aborde d'abord la production, l'extension et l'amélioration de corpus multilingues par traduction automatique (TA) et post-édition contributive (PE). Des améliorations fonctionnelles et techniques ont été apportées aux logiciels SECTra et iMAG, et on a progressé vers une définition générique de la structure d'un corpus multilingue, multi-annoté et multimédia, pouvant contenir des documents classiques aussi bien que des pseudo-documents et des méta-segments. Cette partie a été validée par la création de bons corpus bilingues français-chinois, l'un d'eux résultant de la toute première application à la traduction littéraire.Une seconde partie, initialement motivée par un besoin industriel, a consisté à construire des systèmes de TA de type Moses, spécialisés à des sous-langages, en français↔chinois, et à étudier la façon de les améliorer dans le cadre d'un usage en continu avec possibilité de PE. Dans le cadre d'un projet interne sur le site du LIG et d'un projet (TABE-FC) en coopération avec l'université de Xiamen, on a pu démontrer l'intérêt de l'apprentissage incrémental en TA statistique, sous certaines conditions, grâce à une expérience qui s'est étalée sur toute la thèse.La troisième partie est consacrée à des contributions et mises à disposition de supports informatiques et de ressources. Les principales se placent dans le cadre du projet COST MUMIA de l'EU et résultent de l'exploitation de la collection CLEF-2011 de 1,5 M de brevets partiellement multilingues. De grosses mémoires de traductions en ont été extraites (17,5 M segments), 3 systèmes de TA en ont été tirés, et un site Web de support à la RI multilingue sur les brevets a été construit. On décrit aussi la réalisation en cours de JianDan-eval, une plate-forme de construction, déploiement et évaluation de systèmes de TAThe thesis, conducted as part of a CIFRE grant, and extending one of the aspects of the ANR project Traouiero, first addresses the production, extension and improvement of multilingual corpora by machine translation (MT) and contributory post-editing (PE). Functional and technical improvements have been made to the SECTra and iMAG software produced in previous PhD theses (P.C. Huynh, H.T. Nguyen), and progress has ben made toward a generic definition of the structure of a multilingual, annotated and multi-media corpus that may contain usual documents as well as pseudo-documents (such as Web pages) and meta-segments. This part has been validated by the creation of good French-Chinese bilingual corpora, one of them resulting from the first application to literary translation (a Jules Verne novel).A second part, initially motivated by an industrial need, has consisted in building MT systems of Moses type, specialized to sub-languages, for french↔chinese, and to study how to improve them in the context of a continuous use with the possibility of PE. As part of an internal project on the LIG website and of a project (TABE-FC) in cooperation with Xiamen University, it has been possible to demonstrate the value of incremental learning in statistical MT, under certain conditions, through an experiment that spread over the whole thesis.The third part of the thesis is devoted to contributing and making available computer tools and resources. The main ones are related to the COST project MUMIA of the EU and result from the exploitation of the CLEF-2011 collection of 1.5 million partially multilingual patents. Large translation memories have been extracted from it (17.5 million segments), 3 MT systems have been produced (de-fr, en-fr, fr-de), and a website of support for multilingual IR on patents has been constructed. One also describes the on-going implementation of JianDan-eval, a platform for building, deploying and evaluating MT systems
9
Huang, Chunli. "Les traductions françaises du Jingu qiguan et leurs influences sur la création littéraire en France (1735-1996)." Thesis, Aix-Marseille, 2015. http://www.theses.fr/2015AIXM3085.
Повний текст джерелаАнотація:
À la fin de la dynastie Ming, Baoweng laoren a sélectionné quarante contes en langue vulgaire dans la collection San Yan Er Pai 三言兩拍 de Feng Menglong et de Ling Mengchu. Cette anthologie est connue sous le titre Jingu qiguan 今古奇觀 (Spectacles curieux d’aujourd’hui et de jadis). Elle a connu un immense succès à l’époque de sa publication et a été sans cesse rééditée. Aujourd’hui, elle est considérée comme un chef-œuvre représentatif de la littérature chinoise en langue vulgaire. Sa réputation a dépassé la frontière de la Chine depuis longtemps. Au XVIIIe siècle, trois contes du Jingu qiguan ont été traduits pour la première fois en Europe par un jésuite français. Dès lors, l’œuvre a connu de très nombreuses traductions partielles, retraductions et réécriture dans toute l’Europe. Seulement en langue française, il en existe déjà trente traductions partielles et une traduction intégrale, ainsi que de nombreuses réécritures de natures variées. Cela nous amène à nous interroger sur les raisons de ces traductions et retraduction, et à nous intéresser à leurs différentes réécritures. Qui les a traduits et comment ont-ils été traduits ? Ces contes ont-ils exercé quelque influence sur la littérature locale, et de quelle manière ? La présente étude a pour objectif de traiter toutes ces questionsAt the end of the Ming Dynasty, Baoweng laoren has selected forty tales of the three collections of Feng Menglong and two collections of Ling Mengchu to compile another anthology entitled Jingu qiguan 今古奇觀 (curious spectacles of today and of the past). This anthology was a huge success at the time of its publication, and is constantly reprinted for centuries until today. Today it is considered as a main representative work of Chinese literature in vernacular language. The reputation of Jingu qiguan has already exceeded the Chinese border since a long time. Since the 18th century, three tales of the Jingu qiguan were translated for the first time in Europe by a French Jesuit. Therefore, throughout the centuries, the Jingu qiguan has experienced a lot of partial translations, retranslations and adaptation across Europe. Only in French, there are about thirty translations, retranslations and rewrite of Jingu qiguan. So that leads us to wonder why these stories have constantly been translated and retranslated, or even rewritten. Who have translated them and how they have been translated? How these translations did had some influence in the local literature? This study is intended to cover all these issues
10
LIN, Shu-Jian, and 林書劍. "Strategy for translating French humorous juvenile literature into Chinese : examples taken from《Histoires inédites du Petit Nicolas》." Thesis, 2009. http://ndltd.ncl.edu.tw/handle/59932374467420384031.
Повний текст джерелаКниги з теми "French-Chinese translation"
1
Voltaire. Candide, or, Optimism: A fresh translation, backgrounds, criticism. 2nd ed. New York: Norton, 1991.
Знайти повний текст джерела
2
1920-, Morgan Edwin, ed. Edmond Rostand's Cyrano de Bergerac: A new verse translation. Manchester: Carcanet, 1992.
Знайти повний текст джерела
3
Voltaire. Candide, or, All for the best: The 1759 Nourse (London) translation, revised. Peterborough, Ont: Broadview Press, 2009.
Знайти повний текст джерела
4
Voltaire. Candide, or, All for the best: The 1759 Nourse (London) translation, revised. Peterborough, Ont: Broadview Press, 2009.
Знайти повний текст джерела
5
Kafka, Franz. The metamorphosis: Translation, backgrounds and contexts, criticism. New York: W.W. Norton, 1996.
Знайти повний текст джерела
6
Kafka, Franz. The metamorphosis: Translation, backgrounds and contexts, criticism. New York: W.W. Norton, 1996.
Знайти повний текст джерела
7
Trois essais sur la traduction. Paris: Allia, 2014.
Знайти повний текст джерела
8
Alexandre, Dumas. The three musketeers: Alexandre Dumas ; revised and updated translation by Eleanor Hochman ; with an introduction by Thomas Flanagan ; and a new afterword by Marcelle Clements. New York: Signet Classics, 2006.
Знайти повний текст джерела
9
Institut national des langues et civilisations orientales. Centre d'études chinoises, ed. Les belles infidèles dans l'empire du milieu: Problématiques et pratiques de la traduction dans le monde chinois moderne. Paris: Librairie You Feng, 2010.
Знайти повний текст джерела
10
Carrying over: Poems from the Chinese, Urdu, Macedonian, Yiddish, and French African. Port Townsend, WA: Copper Canyon Press, 1988.
Знайти повний текст джерелаЧастини книг з теми "French-Chinese translation"
1
Kaser, Pierre. "French Translations of the Chinese Vernacular Erotic Novel of the Ming and Qing Dynasties: A Brief Overview." In Encountering China’s Past, 101–23. Singapore: Springer Singapore, 2022. http://dx.doi.org/10.1007/978-981-19-0648-0_7.
Повний текст джерела
2
ELBAZ, Pascale. "Interactivité, co-construction, quand l’outil numérique dé-hiérarchise le rapport entre enseignant-e-s et étudiant-e-s en langue." In Distances apprivoisées, 87–94. Editions des archives contemporaines, 2021. http://dx.doi.org/10.17184/eac.4882.
Повний текст джерелаАнотація:
As a teacher-researcher at ISIT, I had to maintain pedagogical continuity with my colleagues from the very first day of the lockdown, and to ensure all my lectures and online workshops, with some time adjustments and extra breaks for long courses. I teach undergraduate Chinese to French translation to French and Chinese students, in mixed groups of speakers of both languages. I also teach general and comparative terminology at graduate level. In this article, I only deal with the devices implemented in my undergraduate general Chinese to French translation courses. This new teaching format has given me the opportunity to test tools in both synchronous and asynchronous formats. I would like to present two of these tools and the features that interested me most for synchronous use in Chinese to French translation classes.
3
TIAN, Bing, Jianhua HUANG, and Fang HUANG. "J. Huang’s "Grand contemporary chinese-french dictionary (2014)" and the story behind it." In Dictionnaires et apprentissage des langues, 103–19. Editions des archives contemporaines, 2021. http://dx.doi.org/10.17184/eac.4506.
Повний текст джерелаАнотація:
Le Grand Dictionnaire Chinois-Français Contemporain (GDCFC, for short), published in 2014, is the largest of its kind in China and contains a number of innovative features. It helps to learn a dictionary and its design features to know its editor and his academic career in the first place. This is especially true for GDCFC given that dictionary-making projects are in most cases chief-editor-oriented in China., GDCFC editor, Jianhua Huang, accumulated a rich experience in lexicographical practice and spent two decades exploring theoretical lexicography before he started compiling the dictionary. This paper first addresses Huang’s practice in dictionary- making, in translation and in the exploration of theoretical lexicography as a preparation for the GDCFC. Next, we move on to introduce the GDCFC itself. The study is carried out at two levels. At the macro structural level, the focus is on its coverage and headword selection, in comparison mainly to its sole source dictionary, A Modern Chinese Dictionary (6th edn, 2012). The microstructural level focuses on sense translation, illustrative examples of allocations and their translations, and grammatical and pragmatical labelling, when compared with A Chinese-English Dictionary (3rd ed., 2010), a well-established Chinese-English counterpart. Our study reveals that the GDCFC is lexicographically well-designed in all major respects, as manifested in its nine design features.
4
"Travels of a Chinese Pulse Treatise: The Latin and French Translations of the Tuzhu maijue bianzhen 圖註脈訣辨真 (1650s–1730s)." In Translation at Work, 23–57. Brill | Rodopi, 2020. http://dx.doi.org/10.1163/9789004387737_003.
Повний текст джерела
5
"TRADITION EAST AND WEST, ENGLISH AND CHINESE:." In Transnationalism and Translation in Modern Chinese, English, French and Japanese Literatures, 155–90. Anthem Press, 2020. http://dx.doi.org/10.2307/j.ctvwvr2nv.9.
Повний текст джерела
6
Saussy, Haun. "The Nine Relays: Translation in China." In The Making of Barbarians, 11–32. Princeton University Press, 2022. http://dx.doi.org/10.23943/princeton/9780691231976.003.0002.
Повний текст джерелаАнотація:
This chapter discusses the practice of translation in China. In China, the translation of foreign works arises simultaneously with the project of a modern literature, and so the study of translation tends to become identified with the study of this literature. The turn toward the foreign was motivated by a feeling of lack, exhaustion, and defeat, as if the three-thousand-year history of China had finally run its course and needed to be replaced by something else. When texts from China are translated into French, English, or German, inter alia, the case is sometimes made that these are works that have the potential to transform the poetic language, the mental orientations, or the society and politics of the receiving cultures. Mediation between different languages and communities can take many forms. There are translators; there are chains of translators, as Sima Qian's scenario of the “nine relays” suggests; there are institutions, like the protocols of monastic revision devised by Dao'an to secure reliable versions of Buddhist texts imported by a variety of foreign informants; and not least, there are technologies, like the Chinese writing system or Arabic numerals, that create commensurabilities among separate linguistic communities. Chinese writing itself will prove both a tremendous enabler and a tremendous obliterator of translation.
7
"Front Matter." In Transnationalism and Translation in Modern Chinese, English, French and Japanese Literatures, i—iv. Anthem Press, 2020. http://dx.doi.org/10.2307/j.ctvwvr2nv.1.
Повний текст джерела
8
"CONCLUSION." In Transnationalism and Translation in Modern Chinese, English, French and Japanese Literatures, 191–98. Anthem Press, 2020. http://dx.doi.org/10.2307/j.ctvwvr2nv.10.
Повний текст джерела
9
"WORKS CITED." In Transnationalism and Translation in Modern Chinese, English, French and Japanese Literatures, 199–208. Anthem Press, 2020. http://dx.doi.org/10.2307/j.ctvwvr2nv.11.
Повний текст джерела
10
"INDEX." In Transnationalism and Translation in Modern Chinese, English, French and Japanese Literatures, 209–16. Anthem Press, 2020. http://dx.doi.org/10.2307/j.ctvwvr2nv.12.
Повний текст джерелаТези доповідей конференцій з теми "French-Chinese translation"
1
Wu, Hong, Claude Faidy, Xiaokang Wu, Ding Yuan, and Lei Gong. "Sino-French Cooperation on Publication of RCC Codes in Chinese Version." In 18th International Conference on Nuclear Engineering. ASMEDC, 2010. http://dx.doi.org/10.1115/icone18-29939.
Повний текст джерелаАнотація:
The present Chinese nuclear program is developing vastly and rapidly. The main type of nuclear units under construction currently is the improved generation II PWR (G2+). Taking into account that G2+ is designed based on French M310 type, and one of the technical bases and guidance that NNSA uses to evaluate G2+ is the French RCC codes, AFCEN has authorized CNPRI to translate RCC codes into Chinese version and publish them, in order to facilitate Chinese manufacturers to better apply RCC codes. CNPRI organizes several sub-groups to perform translation, revise, publication and coordination working groups, meanwhile AFCEN provides technical support. Translation is realized based on RCC codes English version, with some reference of French version. Translators work with professional technical background and knowledge, in case of non-clear understanding, including language and technical issues, they raise question list to AFCEN experts for clarification, afterward the answers and comments are merged accordingly into Chinese version translation, to assure the accuration, better understanding and the guidance to Chinese G2+ program.
2
Alsharaf, H., S. Cardey, P. Greenfield, and Y. Shen. "Problems and solutions in machine translation involving Arabic, Chinese and French." In International Conference on Information Technology: Coding and Computing, 2004. Proceedings. ITCC 2004. IEEE, 2004. http://dx.doi.org/10.1109/itcc.2004.1286649.
Повний текст джерела