Дисертації з теми "OOLC，Translation，Chinese literature"
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1
Broschat, Michael Robert. "Guiguzi : a textual study and translation /." Thesis, Connect to this title online; UW restricted, 1985. http://hdl.handle.net/1773/15506.
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2
Tang, Beibei. "Feminist translation equivalence and norms : gender and female alienation in Chinese translation of Chinese American women's literature." Thesis, University of Nottingham, 2018. http://eprints.nottingham.ac.uk/53276/.
Повний текст джерелаАнотація:
Drawing on three Chinese translations each of Amy Tan's The Joy Luck Club (1989) and The Kitchen God's Wife (1991), this project examines, from a feminist perspective, gender issues in Chinese translations of Chinese American women's literature, with special attention paid to the translators' gender consciousness and ideologies as reflected in their translations of 'female alienation'. Existing studies on Chinese American women's literature, in both America and mainland China, mainly address identity politics, culture, Orientalism, and feminism, and fail to consider the role of translation. This project, however, analyses both the feminist consciousness and the issues which are reflected in these two novels and in their Chinese translations. This project innovatively applies the feminist concept of 'female alienation' to literary translation studies. The concept of 'female alienation', which originates from Karl Marx's theory of labour alienation, is developed by Alison Jaggar through feminist discussions of women's oppression and subordinate status. Women in a patriarchal society are alienated by men's power and separated from their self and nature; this leads to their loss of subjectivity and independence. Jaggar believes that women are alienated in all aspects of their lives, particularly in their sexuality, motherhood, and intellectual capacities, and this project discusses the influence of race and self-Orientalization on that alienation. Indeed, it enriches Jaggar's concept of female alienation by adding sisterhood alienation. A new classification is then proposed to study different patterns of alienation and women's psychological experiences with it, both active and passive, as reflected in Tan's works and the Chinese translations of those works. In terms of translation studies, this project combines translation equivalence and norms theories with feminist translation theory; it proposes a set of feminist translation norms and a concept of feminist translation equivalence to study feminist translation in the Chinese context. Feminist translation norms include feminist preliminary, expectancy, operational, accountability, communication, and relation norms. It is the feminist preliminary and expectancy norms that are used to analyse the translators' motives, intentions, and expectations of their translation. The feminist operational norm is used to analyse the translation strategies adopted by the translators. The feminist accountability norm refers to feminist translation ethics of fidelity; that is, the translation must be faithful to the writer's, or the translator's, own feminist consciousness, thoughts, and intentions. The feminist communication norm means that translations convey the writer's, or translator's, own feminist thoughts to the maximum possible extent. The feminist relation norm means that the relationship between the translation and the source text is the feminist translation equivalence, which means that the feminist thoughts reflected by the words or expressions in the source text, or by the translators' own feminist thoughts, are "faithfully" represented in the translation, even if the translator does not use the precisely equivalent words or expressions to achieve linguistic equivalence. Comparing the Chinese translations in order to study the translators' translation behaviours and the effects of their translations, this project explores how the feminist consciousness and thoughts on female alienation of the source text are represented in the Chinese translations, and in what way the translations achieve (feminist) translation equivalence. Summarising the regularities of the translation behaviour of the translator subgroups, and the (feminist) translation equivalence the translations achieve, this project provides evidence that the feminist translation ethics of fidelity do not necessarily contradict the traditional translation ethics of fidelity which focuses on linguistic equivalence. Meanwhile, it also verifies that so-called "feminist translation strategies" actually refer to all translation strategies which help the translations achieve feminist translation equivalence. This corrects the research misconception concerning feminist translation strategies in mainland China. Finally, by examining the translators' motives and expectations, reflected in their paratexts as well as in the translations, this project summarises feminist translation norms in the Chinese context, and defines the role of gender in translating female alienation in the texts in question.
3
Peters, Li Li. "Translation, popular imagination and the novelistic reconfiguration of literary discourse, China, 1890s-1920s." Diss., Restricted to subscribing institutions, 2007. http://proquest.umi.com/pqdweb?did=1383468131&sid=1&Fmt=2&clientId=1564&RQT=309&VName=PQD.
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4
Lai, Sau-ming. "Translation in Hong Kong's literary magazines in the 1930's : Red beans and others /." View abstract or full-text, 2008. http://library.ust.hk/cgi/db/thesis.pl?HUMA%202008%20LAI.
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5
Xu, Ran. "Translation, Cultural Diplomacy and China’s “Going Out” Strategy: Official Storytelling Through the Translation of Contemporary Chinese Literature in Pathlight." Thesis, Université d'Ottawa / University of Ottawa, 2021. http://hdl.handle.net/10393/42436.
Повний текст джерелаАнотація:
This thesis focusses on contemporary China. It examines the role the dominant ideology plays in determining the kinds of texts and narratives that are translated for export as part of government-sponsored translation projects. The literary magazine Pathlight, launched as an instrument of Chinese cultural diplomacy, is at the centre of this research project. At the turn of the 21st century, the Chinese government stepped up its funding of cultural diplomacy activities in efforts to disseminate Chinese traditional culture and Chinese discourse internationally. This move was fuelled by mounting criticism and negative reporting from the Western mainstream media on China, and China’s declining image worldwide. As part of this, the Chinese government initiated a number of projects to enhance the country’s image and discursive power through cross-cultural exchanges and cultural diplomacy, and thus forge its own narrative on China in the international community (K. Zhao, 2016).
Drawing upon notions of patronage and ideology from Lefevere’s rewriting theory and anchoring on previous research on similar translation projects, this study applies qualitative content analysis methods to pinpoint the recurring themes and narratives in the English translations exported in Pathlight from 2011 to 2019. It searches for links between these recurring themes and narratives and current Chinese mainstream ideology as expressed by “the Chinese dream.” The findings of this dissertation reveal that, although the dominant ideology in China does put certain limitations on what kinds of stories and narratives are selected for translation and export in government-sponsored translation projects, compared to years prior to the economic reforms of the 1980s, the variety of stories and narratives translated and exported has greatly increased. Arguably, this could be explained by the changes in the country’s dominant ideology over the past 30 years, and by how the Chinese government is turning to “softer” methods of control.
6
Yung, Hiu-yu, and 翁曉羽. "Theorizing the translation of body language: a study of nonverbal behaviors in literature." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B44051785.
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7
Yung, Hiu-yu. "Theorizing the translation of body language a study of nonverbal behaviors in literature /." Click to view the E-thesis via HKUTO, 2010. http://sunzi.lib.hku.hk/hkuto/record/B44051785.
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8
Jin, Guanglan. "East meets West : Chinese reception and translation of Virginia Woolf /." View online ; access limited to URI, 2009. http://0-digitalcommons.uri.edu.helin.uri.edu/dissertations/AAI3367993.
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9
Liu, Qian. "Creative translation and creativity via translation : the transformation of emotional expression in early modern Chinese fiction (1900-1925)." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:1056d20f-45ae-4f48-8bba-e7f43705551d.
Повний текст джерелаАнотація:
This thesis makes an inquiry into the literary translation and creation in the early twentieth-century China, particularly between the years 1900 and 1925. I combine the theoretical approaches of both translation studies and intertextuality studies to form the overall methodological framework that informs the discussions in the thesis. Although the modern transformation of Chinese literature has long been discussed and debated in various scholarly works, which often attribute the transformation to foreign influences and reconstruction of indigenous literary tradition, a theoretical language is urgently required to articulate the exact process of literary adaptation and appropriation. Rather than taking the concept of “influence” at face value, I probe the intricate process of influence by examining the way Chinese writers and translators creatively translated and intertextualized foreign literary works to construct new literary texts. The two modalities of literary production – translation and intertextuality – call for the approaches of translation studies and intertextuality studies, and only when both approaches are taken into account can a fuller understanding of the literary scene in the early years of twentieth-century China be obtained. I apply my methodology to the study of the transformation of emotional expressions which are most frequently found in love fiction. By combining translation and intertextuality, some Chinese writer-translators such as Bao Tianxiao and Zhou Shoujuan creatively translated foreign fiction, conveying emotions different from those intended by the original texts while at the same time introducing new modes of emotional expression to Chinese literature. Others, such as Su Manshu and Yu Dafu, borrowed foreign literary texts to construct their own literary creations, appropriating the emotions conveyed by the foreign texts. As a result of the vigorous adaptation and appropriation of Chinese writer-translators, new modes of emotional expression emerged in modern Chinese literature.
10
Gao, Wanlong, and n/a. "Recasting Lin Shu: A Cultural Approach to Literary Translation." Griffith University. School of Languages and Linguistics, 2003. http://www4.gu.edu.au:8080/adt-root/public/adt-QGU20030731.161353.
Повний текст джерелаАнотація:
This thesis is a re-evaluation of Lin Shu (1852-1924) and his literary translations. Lin Shu is one of Chinas most influential translators. He initiated modern literary translation in China, and his translations imported new ideas, literary concepts, styles and techniques from the West. These, in turn, influenced the emergence and development of modern Chinese literature. Nevertheless, Lin Shu and his translations have been belittled and even dismissed for various reasons over the years. The emergence and development of target/culture-oriented translation theories offer the possibility of re-assessing Lin Shu and his translations. The re-assessment of Lin Shu and his translations in this study is based on target/culture-oriented translation theories, which emerged in the 1970s. Target/culture-oriented translation theories focus on the mutual influence between a translation and its target culture, especially on the influence of a translation on the target culture and readers as a criterion for successful translation rather than examining whether the target text is faithful to the source text, as in the traditional linguistic approach. These target/culture-oriented theories can effectively explain the translational phenomenon of Lin Shu, as Lin Shu translated with the needs of the target culture and readers in mind. He attached great importance to the cultural function and influence of his translations during a period of historical transition in China. The criticisms of Lin Shu and his translations in China and elsewhere have largely been negative, often highlighting political issues - his endorsement of the constitutional Qing monarchy and his conservative attitude to the New Culture Movement - as well as his free translation method. Target/culture-oriented translation theories offer a framework for the re-assessment of Lin Shu and his translations that bypasses these narrow approaches. Adopting target/culture-oriented translation theories, this thesis examines Lin Shus translations in a trans-cultural context. Lin Shu based his translations on the needs for the Chinese culture and readers of that time, which was clearly embodied in his choice of, and response to, the originals works. The prefaces and postscripts that he wrote for his translations illustrate the new cultural and literary factors that Lin Shu introduced into China. In this respect, Lin Shus translation of La Dame aux Camelia is perhaps the most famous case study of his translation method. Through a comparative analysis of the Target Text (TT) and Source Text (ST), the thesis discusses the truthfulness of Lin Shus translation, and stresses that truthfulness lies in seeking poetic equivalence rather than formal equivalence between the target and source texts. We argue that poetic equivalence is similar to Nidas principle of correspondence, but is beyond his dynamic equivalence. It lays special stress on literary or aesthetic equivalence. Poetic equivalence in Lin Shus translations relates to the stylistic expression in Chinas literary language and is therefore intrinsic to sinicization. Lin Shus skill in classical Chinese is central to our notion of poetic equivalence. However, I argue that Lin Shus translation strategy is actually also beyond equivalence. It is primarily embodied in his constant adaptation of the original to the perceived needs of Chinese culture and the acceptability of his translations to Chinese readers. Adaptation includes omission, addition, alteration and abridgment. In terms of target/culture/reader-oriented translation theories, Lin Shus adaptations were acceptable in the cultural context of his time. In brief, this study clarifies Lin Shus contribution in introducing Western culture and literature into China. The study also stresses the cultural influence of Lins translations on modern Chinese culture and on later generation of Chinese writers and translators. This thesis concludes that Lin Shu played a role of utmost importance in the establishment and evolution of early-modern and modern Chinese translation, particularly of modern literary translation in China. Therefore, Lin Shu is the father of modern Chinese literary translation.
11
Gao, Wanlong. "Recasting Lin Shu: A Cultural Approach to Literary Translation." Thesis, Griffith University, 2003. http://hdl.handle.net/10072/365284.
Повний текст джерелаАнотація:
This thesis is a re-evaluation of Lin Shu (1852-1924) and his literary translations. Lin Shu is one of China’s most influential translators. He initiated modern literary translation in China, and his translations imported new ideas, literary concepts, styles and techniques from the West. These, in turn, influenced the emergence and development of modern Chinese literature. Nevertheless, Lin Shu and his translations have been belittled and even dismissed for various reasons over the years. The emergence and development of target/culture-oriented translation theories offer the possibility of re-assessing Lin Shu and his translations. The re-assessment of Lin Shu and his translations in this study is based on target/culture-oriented translation theories, which emerged in the 1970s. Target/culture-oriented translation theories focus on the mutual influence between a translation and its target culture, especially on the influence of a translation on the target culture and readers as a criterion for successful translation rather than examining whether the target text is faithful to the source text, as in the traditional linguistic approach. These target/culture-oriented theories can effectively explain the translational phenomenon of Lin Shu, as Lin Shu translated with the needs of the target culture and readers in mind. He attached great importance to the cultural function and influence of his translations during a period of historical transition in China. The criticisms of Lin Shu and his translations in China and elsewhere have largely been negative, often highlighting political issues - his endorsement of the constitutional Qing monarchy and his conservative attitude to the New Culture Movement - as well as his free translation method. Target/culture-oriented translation theories offer a framework for the re-assessment of Lin Shu and his translations that bypasses these narrow approaches. Adopting target/culture-oriented translation theories, this thesis examines Lin Shu’s translations in a trans-cultural context. Lin Shu based his translations on the needs for the Chinese culture and readers of that time, which was clearly embodied in his choice of, and response to, the originals works. The prefaces and postscripts that he wrote for his translations illustrate the new cultural and literary factors that Lin Shu introduced into China. In this respect, Lin Shu’s translation of La Dame aux Camelia is perhaps the most famous case study of his translation method. Through a comparative analysis of the Target Text (TT) and Source Text (ST), the thesis discusses the ‘truthfulness’ of Lin Shu’s translation, and stresses that ‘truthfulness’ lies in seeking poetic equivalence rather than formal equivalence between the target and source texts. We argue that poetic equivalence is similar to Nida’s principle of correspondence, but is beyond his dynamic equivalence. It lays special stress on literary or aesthetic equivalence. Poetic equivalence in Lin Shu’s translations relates to the stylistic expression in China’s literary language and is therefore intrinsic to sinicization. Lin Shu’s skill in classical Chinese is central to our notion of poetic equivalence. However, I argue that Lin Shu’s translation strategy is actually also beyond equivalence. It is primarily embodied in his constant adaptation of the original to the perceived needs of Chinese culture and the acceptability of his translations to Chinese readers. Adaptation includes omission, addition, alteration and abridgment. In terms of target/culture/reader-oriented translation theories, Lin Shu’s adaptations were acceptable in the cultural context of his time. In brief, this study clarifies Lin Shu’s contribution in introducing Western culture and literature into China. The study also stresses the cultural influence of Lin’s translations on modern Chinese culture and on later generation of Chinese writers and translators. This thesis concludes that Lin Shu played a role of utmost importance in the establishment and evolution of early-modern and modern Chinese translation, particularly of modern literary translation in China. Therefore, Lin Shu is the father of modern Chinese literary translation.Thesis (PhD Doctorate)
Doctor of Philosophy (PhD)
School of Languages and Linguistics
Full Text
12
Zhou, Sirui. "Comparative translation analysis of ecological culturemes in Hong Lou Meng: A multilingual approach to the translation study of classical Chinese literature." Doctoral thesis, Universitat Pompeu Fabra, 2021. http://hdl.handle.net/10803/672853.
Повний текст джерелаАнотація:
As one of the Four Great Classical Novels in China, Hong Lou Meng (HLM) marks the summit of classical Chinese literature. The present research proposes a multilingual approach by bringing into comparison the English version of Yang & Yang, the Spanish version of Láuer, and the Spanish version of Zhao & García Sánchez. It focuses on the translation of ecological culturemes in HLM poetry with the objectives to verify and explain the inter-relationships between the target texts (TTs), and identify laws of cultureme translation in classical Chinese poetry.
Within the research, a trilingual corpus is established to identify and classify the culturemes and translation techniques based on a quantitative analysis, which is then complemented by a qualitative analysis to reconstruct the translators’ decision-making process.
The similarities and discrepancies between the TTs have resulted from a complex interaction of multiple constraints both inside and outside the literary systems. Patronages, translation modes and policies, and translators’ subjectivity are the most influential factors. The diachronic analysis of the translations from TT1 to TT3 has revealed the increasing impact of translators in negotiating and formulating translation methods and techniques, and creating a compromising paradigm that grants more value to the translation’s acceptability while preserving the cultural otherness.Como una de las cuatro grandes novelas clásicas en China, Hong Lou Meng (HLM) marca la cumbre de la literatura clásica china. La presente investigación parte de un enfoque multilingüe para comparar la versión inglesa de Yang y Yang, la versión española de Láuer y la versión española de Zhao y García Sánchez. Se centra en la traducción de los culturemas ecológicos en la poesía de HLM con el objetivo de verificar y explicar la interrelación entre los textos metas (TT) e identificar las leyes de la traducción cultural en la poesía clásica china. Se ha establecido un corpus trilingüe para identificar y clasificar los culturemas y las técnicas de traducción desde una perspectiva cuantitativa, que después se ha complementado con un análisis cualitativo para reconstruir el proceso de las traducciones. Las similitudes y discrepancias entre los textos meta resultan de una interacción compleja de múltiples restricciones tanto dentro como fuera de los sistemas literarios. Los mecenazgos, los modos y políticas de traducción y la subjetividad de los traductores son los factores más influyentes. El análisis diacrónico desde el TT1 al TT3 ha revelado un impacto creciente de los traductores en la negociación y formulación de métodos y técnicas de traducción, y así se ha creado un paradigma comprometido que otorga más valor a la aceptabilidad de la traducción a la vez que se preservan los rasgos de la cultura original.
Considerada una de les quatre grans novel·les clàssiques a la Xina, Hong Lou Meng (HLM) és una fita de la literatura clàssica xinesa. Aquesta recerca es basa en un enfocament multilingüe per comparar la versió anglesa de Yang i Yang, la versió espanyola de Lauer i la versió espanyola de Zhao i García Sánchez. Se centra en la traducció del culturemes ecològics en la poesia de HLM i té l’objectiu de confirmar i explicar la interrelació entre els textos meta (TT), així com identificar les lleis de la traducció cultural a la poesia clàssica xinesa. S'estableix un corpus trilingüe per identificar i classificar els culturemes i les tècniques de traducció des d’una perspectiva quantitativa, que després s’ha complementat amb una anàlisi qualitativa per tal de reconstruir el procés de les traduccions.. Les similituds i discrepàncies entre els textos meta són el resultat d’una interacció complexa de múltiples restriccions tant dins com fora dels sistemes literaris. Els mecenatges, els modes de traducció i la subjectivitat dels traductors són els factors més influents. L’anàlisi diacrònica de les traduccions del TT1 al TT3 ha revelat un impacte creixent dels traductors en la negociació i formulació de mètodes i tècniques de traducció, i així s’ha creat un paradigma compromès que atorga més valor a l’acceptabilitat de la traducció alhora que preserva els trets de la cultura original.
13
Lyu, Chen Ge Karen. "A translation project :The Boy Who Went under the Border or Hell and Back Again." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3954306.
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14
Lai, Cheok Leng Karen. "A translation project :A Generation of Macao Fishermen." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3954311.
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15
Xie, Ming. "Translation from Chinese poetry and the development of imagism in Ezra Pound and some of his contemporaries." Thesis, University of Cambridge, 1989. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.303207.
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16
Hedberg, William. "Locating China in Time and Space: Engagement with Chinese Vernacular Fiction in Eighteenth-Century Japan." Thesis, Harvard University, 2012. http://dissertations.umi.com/gsas.harvard:10197.
Повний текст джерелаАнотація:
This dissertation discusses the Edo-period Japanese translation, adaptation, and theoretical analysis of Chinese popular fiction and drama between 1680 and 1815. I focus on the ways in which Japanese encounters with fiction and drama written in the unfamiliar “vernacular” engendered reinterpretations of Japan’s cultural relationship to China. Whereas this relationship had previously centered largely on the Confucian classics and their ongoing interpretation in Japan, I argue that the introduction of vernacular texts enabled new modes of visualizing China’s position as a locus of textual and cultural authority. I connect the increasingly formalized study of vernacular texts to a discourse on temporality and linguistic change, and demonstrate the degree to which engagement with late imperial Chinese fiction and drama led to the reformulation of definitions of culture, literature, and language. By dramatically widening the range of materials and texts that could be used to construct a vision of China, the introduction of vernacular fiction and drama encouraged Edo-period philologists and fiction connoisseurs to reconceptualize both the criteria for judging textual competence, and the position of their own writing with respect to China. Rather than focusing on eighteenth-century efforts to efface traces of China’s cultural imprint on Japan, I seek to complicate accounts of the development of Japanese literature by exploring the oeuvres of philosophers, philologists, and fiction writers who attempted to theorize areas of convergence between Chinese and Japanese literary production. The study is divided into four chapters. Chapter One introduces the major themes of the dissertation as a whole and analyzes the rhetoric surrounding both the introduction of Chinese vernacular texts and subsequent attempts at reifying their study as an independent academic discipline. Chapter Two develops these themes further through an analysis of three eighteenth-century explorations of aesthetics, genre, and literary translation. In Chapters Three and Four, I examine a group of anomalous “reverse translations” of Japanese fiction and drama into the language and structure of vernacular Chinese fiction—using these largely overlooked texts to map out networks of literary contact and discuss the hermeneutics underlying eighteenth-century Japanese engagement with vernacular Chinese fiction and drama.East Asian Languages and Civilizations
17
Du, Willy Chenja. "Taiwan Xiangtu writer Huang Chunming: three short stories, with a critical introduction." Thesis, University of Iowa, 2011. https://ir.uiowa.edu/etd/4966.
Повний текст джерелаАнотація:
This introduction serves to provide a sketch of the circumstances that led to the prominence of "nativist," or xiangtu literature from the Republic of China (i.e. Taiwan) in the late twentieth century. Huang Chunming, the author of the stories featured in this thesis, has been a prolific writer from the east of the Taiwan Straits since 1962, and has contributed to the popularization of Taiwanese xiangtu literature in the decades of the island's industrialization experience. In Huang's world of fictional characters, readers have multifaceted records of the Taiwanese people's lives and the culture of their native soil.
18
Wang, Hui. "A postcolonial perspective on James Legge's Confucian translation focusing on his two versions of the Zhongyong /." online access from Digital Dissertation Consortium, 2007. http://libweb.cityu.edu.hk/cgi-bin/er/db/ddcdiss.pl?3266749.
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Xiong, Ying. "Herbs and Beauty: Gendered Poethood and Translated Affect in Late Imperial and Modern China." Thesis, University of Oregon, 2018. http://hdl.handle.net/1794/23739.
Повний текст джерелаАнотація:
My dissertation is a comparative analysis of the juncture at which Chinese poetry became “modern.” The catalyst for this development was the early twentieth-century translation into Chinese of the European Romantics, which was contemporaneous with changes and permutations within the “herbs and beauty” myth crucial to the conception of the Chinese poet. I argue that the convergence of the two serve as an anchor for examining China’s literary responses, in both form and content, to drastic social change brought about by rapid modernization and dramatic revolutions.
Through a diverse selection of written and visual texts, I scrutinize and accentuate two ambivalences that, I argue, China’s struggle for modernity required and to which the “herbs and beauty” myth gives form. On the one hand, I locate a moment when the essential femininity of the traditional Chinese poet (man or woman) came to be displaced onto the Western new woman, as the Southern Society, a large community of Chinese poets in the early 20th century, revamped the “herbs and beauty” allegory through their project of translating the European Romantics into Chinese. On the other hand, I investigate how modern Chinese poets and intellectuals, torn between their residual attachment to a hallowed national literary tradition and their new quest for non-indigenous (European) sources, partook in the difficult moments of China’s modern transformation by constantly redefining the interconnections between the beautiful and the virtuous through translation and transcultural relation.
In each instance in question, the influence of translation causes a shift in modes of representation that require new definitions of what it means to be a poet in an increasingly unspiritual and commodified world: together, these examples enable me to conceptualize the poetics and politics of what I call “translated affect” and “affective modernity.”10000-01-01
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Lam, Oi Lin. "Communication via Vinay and Darbelnet's translation strategies : a case study of the book Common Knowledge about Chinese Culture." Thesis, University of Macau, 2009. http://umaclib3.umac.mo/record=b2456351.
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Yu, Xin Xin. "HUMANS, NONHUMANS, ENVIRONMENT, AND TECHNOLOGY IN A POST-NATURAL WORLD: Translation and Commentary of a Story from Where Rain Falls Amiss (Kuyu zhi di 苦雨之地) by Wu Ming-yi 吳明益". Master's thesis, Alma Mater Studiorum - Università di Bologna, 2022.
Знайти повний текст джерелаАнотація:
As climate change in the Anthropocene rises to prominence in public discussions, literature and translation that engage with ecological issues are also gaining attention in Anglophone academia and the book market. This dissertation seeks to analyse Taiwanese author Wu Ming-yi 吳明益’s most recent short story collection, Where Rain Falls Amiss (Kuyu zhi di 苦雨之地, 2019), and discuss my translation process of one of the short stories, Here Lie Clouds, Two Thousand Metres Up (Yun zai liangqianmi 雲在兩千米). Drawing on ecocriticism and posthumanist theories, my analysis and interpretation of Where Rain Falls Amiss illustrates how it explores the interconnection between human beings, nonhuman organisms, physical landscapes, and technological environments, in a way that incorporates local environmental history and indigenous traditions as well as influences from Anglophone environmental writing and scientific research. Turning to the translation, I contextualised my understanding by interviewing the author Wu Ming-yi and the translator Darryl Sterk, who has translated two books by Wu into English, and I drew inspiration from ecotranslation theories and techniques advocated by Michael Cronin and Darryl Sterk. The commentary presents detailed examples to discuss how I approached the translation of bionyms and descriptions of flora and fauna as well as culture-specific content such as indigenous beliefs and localisms. Overall, I sought to negotiate a balance between terminological precision, cultural specificity, and textual fluency on a case-by-case basis, hoping to produce a translated text that is both instructive and engaging for the target reader. My translation and the source text of Here Lie Clouds, Two Thousand Metres Up can be found at the end of the dissertation.
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Tan, Wen Qi. "Case study of Goldblatt's translation of The Garlic Ballads from skopos perspective." Thesis, University of Macau, 2018. http://umaclib3.umac.mo/record=b3954285.
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Odor, Erin M. "Re-versing the Eighth Genius: Invoking Partnerships and Poetics to Translate the Huajian ji." The Ohio State University, 2014. http://rave.ohiolink.edu/etdc/view?acc_num=osu1417015192.
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Mondadori, Vittorio. "Nezha: viaggio nella mitologia cinese attraverso la traduzione audiovisiva." Master's thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amslaurea.unibo.it/23036/.
Повний текст джерелаАнотація:
Questo elaborato consiste nella proposta di traduzione di un prodotto audiovisivo dalla lingua cinese alla lingua italiana, nella fattispecie del film d’animazione cinese del 2019 “Nezha”.
Nel primo capitolo verrà affrontato nel dettaglio l’argomento della traduzione audiovisiva; verranno descritte le principali teorie sviluppate a livello accademico dai più illustri studiosi della materia nel corso del tempo, i concetti chiave su cui si basa la traduzione e i tratti distintivi della sottotitolazione, con particolare enfasi sul ruolo del sottotitolatore e delle strategie da attuare nel processo di realizzazione di sottotitoli. Verrà inoltre illustrato da un excursus riguardante la traduzione audiovisiva in Cina, partendo dalle origini fino alle sue applicazioni nell’era di Internet.
Nel secondo capitolo verrà presentata l’opera oggetto di tesi. Verranno analizzati il contesto storico/culturale a cui appartengono i personaggi protagonisti delle vicende narrate e il romanzo stesso, in particolare i tre capitoli che raccontano le vicende trasmesse nel film. Il capitolo proseguirà con l’analisi del film a livello tecnico/contenutistico e la messa a confronto delle due versioni della storia, quella del romanzo e quella del film, analizzando tutte le differenze e i punti in comune fra di esse.
Nel terzo ed ultimo capitolo l’attenzione verrà interamente posta sull’analisi del lavoro di traduzione dei sottotitoli del film. Verranno presi in esame alcuni casi in cui si è reso necessario un intervento particolare a livello traduttivo, spiegando le ragioni che hanno portato a compiere determinate scelte nel processo di traduzione.
In appendice verrà allegata la proposta di traduzione integrale dei dialoghi sottoforma di tabelle divise per i vari capitoli del DVD originale in cui vengono riportati i tempi di entrata e uscita, la versione originale in cinese e la versione tradotta in italiano di ogni sottotitolo presente nel film.
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Tang, Li. "A Study of the history of Nestorian Christianity in China and its literature in Chinese : together with a new english translation of the Dunhuang Nestorian documents /." Frankfurt am Main ; Berlin ; Bern ; Bruxelles : P. Lang, 2002. http://catalogue.bnf.fr/ark:/12148/cb39000494w.
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倪秀華. "民族國家建構、意識形態與翻譯 : 建國"十七年"中國文學英譯研究(1949-1966) = Nation-building, ideology and translation : a study on English translations of Chinese literature in the first seventeen years of the PRC(1949-1966)". HKBU Institutional Repository, 2012. https://repository.hkbu.edu.hk/etd_ra/1378.
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Meng, Yinghua. "La traduction de la littérature chinoise contemporaine en France (1981-2012) : état des lieux, stratégies de traduction, problèmes et réflexions." Thesis, Aix-Marseille, 2017. http://www.theses.fr/2017AIXM0397.
Повний текст джерелаАнотація:
La littérature chinoise contemporaine, presque inconnue il y a une trentaine d’années en France, commence aujourd’hui à occuper une place que l’on ne peut plus ignorer. Notre étude, qui présentera d’abord un panorama de la traduction et de la réception de cette littérature en France (1981-2012), s’efforcera ensuite d’explorer en détail des aspects techniques de la traduction : étudier les stratégies mises en place, mettre en valeur les efforts tentés par les traducteurs et analyser des difficultés et problèmes de traduction existants. Une telle recherche descriptive et analytique portera sur six objets de traduction, qui constituent toutes des défis traductologiques : “graphie et dessin des caractères chinois’’, “jeux de mots’’, “proverbes’’, “xiehouyu’’, “onomatopées’’ et “discours direct sub-libre’’, ceci dans le cadre de trente-quatre traductions de sept écrivains contemporains : Mo Yan 莫言, Su Tong 苏童, Yu Hua 余华, Bi Feiyu 毕飞宇, Chi Li 池莉, A Cheng 阿城 et Jia Pingwa 贾平凹. L’exploration des stratégies s’effectuera dans une approche dialectique qui va bien au-delà des dichotomies théoriques opposant radicalement l’auteur et le lecteur. En étudiant convergences, diversités et complexités de pratiques, nous tenterons d’apporter un éclairage sur des facteurs qui influencent ou régissent l’agir du traducteur, et ceci de façon ciblée selon chacun des six objets étudiés. Loin de vouloir dresser une liste des inadéquations, pertes ou erreurs de traduction, ou encore donner des injonctions, nous espérons attirer l’attention sur les réelles contraintes ou difficultés que les traducteurs du chinois rencontrent durant leur travail, et susciter des occasions de réflexionChinese contemporary literature, while almost unknown thirty or more years ago in France, begins to occupy a place we can non longer ignore. In the present work, after presenting a panorama of the translation and the reception of this literature in France (1981-2012), we will try to explore in detail some technical aspects of its translation : strategies used by the translators and the efforts they make when facing translation problems. Being a descriptive and analytical research, it will deal with six translation objects : “spelling and image of Chinese characters’’, “wordplay’’, “proverbs’’, “xiehouyu’’, “onomatopoeia’’ and “sub free direct discourse’’, taking into account thirty four translations of seven Chinese contemporary writers : Mo Yan 莫言, Su Tong 苏童, Yu Hua 余华, Bi Feiyu 毕飞宇, Chi Li 池莉, A Cheng 阿城 and Jia Pingwa 贾平凹. The analysis of different strategies will be done in an dialectic approach which aims to overcome theoretical dichotomies opposing radically the author and the reader. While studying convergences, diversities and complexities of methods, we will try to shed light on factors that influence or govern the choices of the translator, in a targeted manner, according to each of the six studied objects. Far from establishing a list of unsuitable choices, losses and translation mistakes or issuing instructions, we wish to draw attention to the real constraints or difficulties that translators of the Chinese language come across during their work, and offer opportunity for thought
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邵璐. "文學作品中的模糊語言與翻譯 : 以The Da Vinci code及其兩個中譯本的研究為例 = Fuzzy language in literature and translation : a case study of The Da Vinci code and its own Chinese versions". HKBU Institutional Repository, 2008. http://repository.hkbu.edu.hk/etd_ra/904.
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Romano, Fernanda Maria. "António Feijó e Camilo Pessanha: interlocuções poéticas em traduções." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8150/tde-18062013-093614/.
Повний текст джерелаАнотація:
A proposta desta tese é fazer uma leitura do Cancioneiro Chinês, obra que contém poemas chineses traduzidos por António Feijó da versão francesa de Judith Gautier, e das Elegias Chinesas traduzidas por Camilo Pessanha a partir dos originais. Nosso objetivo é identificar, nos procedimentos desses autores presentes em suas reimaginações, os diferentes deslocamentos culturais, linguísticos e poéticos que se estabelecem no trânsito entre a poesia Oriental e a poesia Ocidental. Para tanto, buscamos, em teóricos da tradução, sinólogos e tradutores de poesia chinesa, reflexões e conceitos que alicercem este nosso estudo.The purpose of this thesis is to interpret a reading of Cancioneiro Chinês, a work that contains Chinese poems translated by António Feijo from Judith Gautiers French version and of Elegias Chinesas, translated by Camilo Pessanha from the original texts. Our objective is to identify, from the procedures of these authors present in their re-imaginations, the different cultural linguistics and poetics deslocation which establish the exchange between Oriental and Occidental poetry. Therefore, we search, from the scholars of translation, sinologists and translators of Chinese poetry, reflections and concepts that form the fundamentals of this study.
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Yin, Jing. "La réception de Mo Yan en France : traduction, diffusion, critique (1988-2014)." Thesis, Sorbonne Paris Cité, 2016. http://www.theses.fr/2016USPCA101.
Повний текст джерелаАнотація:
Mo Yan莫言, de son vrai nom Guan Moye管谟业, est l’un des écrivains chinois contemporains les plus célèbres mais aussi l’un des plus traduits en français. Son enfance rurale inspire ses premières réflexions sur la littérature et son royaume de lettres. Mêlant le vrai au faux, le réel au fabuleux, son œuvre, profuse et originale, suscite des travaux critiques considérables tant académiques que médiatiques, notamment depuis son obtention du prix Nobel de littérature en 2012 à Mo Yan. La présente thèse porte sur l’œuvre de Mo Yan en France : la traduction, la diffusion et la critique. Ainsi, s’agit-il non seulement d’une investigation sur l’imaginaire de la Chine, mais également d’une investigation littéraire. Cette étude, à la fois monographique et comparatiste, s’appuie principalement sur les créations les plus retentissantes en France : Le Clan du sorgho rouge (1986), Le Pays de l’alcool (1993), Beaux seins, belles fesses (1995), Le Supplice du santal (2001), Quarante et un coups de canon (2003), La Dure Loi du karma (2006), Grenouilles (2009)Guan Moye, better known by his pen name Mo Yan, was born in Gaomi County in Shandong province in 1955. The pen name "Mo Yan" means "don't speak" in Chinese. Mo Yan is one of the most famous Chinese contemporary writers in France, and his works have been widely translated into French. His childhood in Gaomi County inspired his first conception of literature and is, to some extent, the portal through which we enter his realm of letters. The unique style of his works attracts many academic and media criticism, and even more after winning the Noble Prize of literature in 2012. This dissertation intends to study the translation, publication, criticism and reception of Mo Yan’s works in France. Besides a literary study, the dissertation also focuses on the imaginary of China. The research is monographic and comparative, based on his several best-known works: Red Sorghum (1986), The Republic of Wine (1993), Big Breasts and Wide Hips (1995), Sandalwood Death (2001), Pow! (2003), Life and Death Are Wearing Me Out (2006), Frog (2009)…
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Li, Lanxue. "论文题目 : 王安忆作品在法国的翻译 与接受研究（1981-2020)". Electronic Thesis or Diss., Paris 3, 2023. http://www.theses.fr/2023PA030048.
Повний текст джерелаАнотація:
Wang Anyi est l’une des figures les plus marquantes de la littérature chinoise contemporaine. Cette thèse traite de la traduction et de la réception de ses œuvres de 1981 à 2020 dans le monde francophone. Si la plupart des œuvres de Wang Anyi sont traduites en français, l’auteur reste néanmoins « méconnu » dans le lectorat français, ce qui représente une situation paradoxale où se trouve la plupart des écrivains chinois contemporains. Notre recherche comprend trois parties : les activités traductives, la démarche des traducteurs français et la réception des œuvres de Wang Anyi en France. Nous essayons de comprendre les facteurs qui influencent le voyage d’un écrivain chinois contemporain à l’étranger. Nous explorons aussi la formation et la déformation des images littéraires de l’écrivain à travers ses œuvres traduites en français, à travers un examen approfondi sur son identité shanghaienne, son « féminisme » et son réalisme façonnés par le prisme françaisWang Anyi is a prominent figure in contemporary Chinese literature, and this thesis focuses on the translation and reception of her works from 1981 to 2020 in the French-speaking world. Although most of Wang Anyi’s works have been translated into French, the author remains largely unknown among French readers, creating a paradoxical situation many contemporary Chinese writers face. Our research is divided into three parts: translation activities, the approach of French translators, and the reception of Wang Anyi’s works in France. We aim to understand the factors that influence contemporary Chinese writers when travelling abroad and explore the formation and distortion of Wang Anyi’s literary images through her works translated into French; this will be done by examining her Shanghainese identity, her feminism, and her realism as seen through the French perspective
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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
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"Machine translation for Chinese medical literature." 1997. http://library.cuhk.edu.hk/record=b5889182.
Повний текст джерелаАнотація:
Li Hoi-Ying.Thesis (M.Phil.)--Chinese University of Hong Kong, 1997.
Includes bibliographical references (leaves 117-120).
Abstract --- p.i
Acknowledgement --- p.iii
Chapter 1 --- Introduction --- p.1
Chapter 2 --- Background --- p.8
Chapter 2.1 --- Strategies in Machine Translation Systems --- p.9
Chapter 2.1.1 --- Direct MT Strategy --- p.10
Chapter 2.1.2 --- Transfer MT strategy --- p.11
Chapter 2.1.3 --- Interlingua MT Strategy --- p.13
Chapter 2.1.4 --- AI Approach --- p.15
Chapter 2.1.5 --- Statistical Approach --- p.15
Chapter 2.2 --- Grammars --- p.16
Chapter 2.3 --- Sublanguages --- p.19
Chapter 2.4 --- Human Interaction --- p.21
Chapter 2.5 --- Evaluation for Performance --- p.23
Chapter 2.6 --- Machine Translation between Chinese and English --- p.25
Chapter 2.7 --- Problems and Issues in MTCML --- p.29
Chapter 2.7.1 --- Linguistic Characteristics of the Corpus --- p.29
Chapter 2.7.2 --- Strategies for problems in MTCML --- p.31
Chapter 3 --- Segmentation --- p.34
Chapter 3.1 --- Strategies for Segmentation --- p.34
Chapter 3.2 --- Segmentation algorithm in MTCML --- p.36
Chapter 4 --- Tagging --- p.40
Chapter 4.1 --- Objective --- p.40
Chapter 4.2 --- Approach --- p.41
Chapter 4.2.1 --- Category and Sub-category --- p.41
Chapter 4.2.2 --- Tools --- p.45
Chapter 5 --- Analysis --- p.48
Chapter 5.1 --- Linguistic Study of the Corpus --- p.48
Chapter 5.1.1 --- Imperative Sentences --- p.49
Chapter 5.1.2 --- Elliptical Sentences --- p.50
Chapter 5.1.3 --- Inverted Sentences --- p.52
Chapter 5.1.4 --- Voice and Tense --- p.53
Chapter 5.1.5 --- Vocabulary --- p.54
Chapter 5.2 --- Pattern Extraction --- p.54
Chapter 5.3 --- Pattern Reduction --- p.56
Chapter 5.3.1 --- Case Study --- p.56
Chapter 5.3.2 --- Syntactic Rules --- p.61
Chapter 5.4 --- Disambiguation --- p.62
Chapter 5.4.1 --- Category Ambiguity --- p.63
Chapter 5.4.2 --- Structural Ambiguity --- p.65
Chapter 6 --- Transfer --- p.68
Chapter 6.1 --- Principle of Transfer --- p.68
Chapter 6.2 --- Extraction of Templates --- p.71
Chapter 6.2.1 --- Similarity Comparison --- p.72
Chapter 6.2.2 --- Algorithm --- p.74
Chapter 6.3 --- Classification of Templates --- p.76
Chapter 6.3.1 --- Classification --- p.76
Chapter 6.3.2 --- A Class-based Filter --- p.79
Chapter 6.4 --- Transfer Rule-base --- p.80
Chapter 6.4.1 --- Transfer Rules --- p.81
Chapter 6.4.2 --- Rule Matching --- p.84
Chapter 6.5 --- Chapter Summary --- p.85
Chapter 7 --- Generation --- p.87
Chapter 7.1 --- Sentence Generation --- p.87
Chapter 7.2 --- Disambiguation of Homographs --- p.90
Chapter 7.3 --- Sentence Polishing --- p.91
Chapter 8 --- System Implementation --- p.95
Chapter 8.1 --- Corpus --- p.95
Chapter 8.2 --- Dictionaries and Lexicons --- p.97
Chapter 8.3 --- Reduction Rules --- p.100
Chapter 8.4 --- Transfer Rules --- p.102
Chapter 8.5 --- Efficiency of the System --- p.104
Chapter 8.6 --- Case Study --- p.105
Chapter 8.6.1 --- Sample Result and Assessment --- p.105
Chapter 8.6.2 --- Results of Segmentation and Tagging --- p.107
Chapter 8.6.3 --- Results of Analysis --- p.108
Chapter 8.6.4 --- Results of Transfer --- p.110
Chapter 8.6.5 --- Results of Generation --- p.110
Chapter 9 --- Conclusion --- p.112
Bibliography --- p.117
Chapter A --- Programmer's Guide --- p.121
Chapter B --- Translation Instances --- p.125
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朱家霈. "A Study of Chinese-English Bilingual-Translation Literature." Thesis, 2011. http://ndltd.ncl.edu.tw/handle/43047973778712560766.
Повний текст джерелаАнотація:
碩士國立高雄師範大學
華語文教學研究所
99
For an intermediate language learner, we usually set up a final step for that person’s learning or reading as an ability to appreciate literary works or periodical materials written by native speakers. In literary works, there are universal feelings and experiences not only used to console people but also to empower the effect of language learning. Also, that person will obtain high grade from examinations. The objects of this study are foreign college students studying in Taiwan; the method is to apply Chinese-English translated literature into the design and research of teaching Mandarin reading and writing. Thus, in order to accomplish the purpose of this study, we focus on the practical effectiveness and learning achievement of the reading and writing pedagogy on Chinese-English translated literature, and on the ancillary effect of the reading and writing pedagogy on the texts translated into English. Two conclusions of this research are as the following: (1) The objects’ learning difficulties and needs are analized to help teachers create curriculum for students themselves. The Communicative Language Teaching (CLT) is conducive for teachers and students to mutually construct and develop an ideal program. Then, we will see the promotion of reading ability and encouragement of writing performance from the use of various methods: Computer-Assisted Instruction, Discussion Teaching Method, Interactive Model, Reading with Timing, Process-oriented Writing, Teaching from the Integration of Reading and Writing, and the selection of Chi Chun’s Chinese-English translated works. (2) Under the language limitation of the researcher and objects, this study cannot demonstrate the contrast of the teaching-translation method between language and culture. Also, the time-limited writing does not have eminent effect on the objects’ writing potential. Based on the result of this study, we can make three conclusions on teachers, students, and teaching materials: (1) As a designer of the reading and writing curriculum, an instructor, and a researcher, a teacher should equip culture cultivation. (2) For intermediate or the highly equipped level of studying groups, they can elaborate the Discussion Teaching Method and study with cooperation. (3) To directly read Mandarin literature or to select Chinese-English translated literature are both helpful for students to improve their reading and writing abilities. Finally, the Reading and Writing Pedagogy, and the prospective study are provided with many discussions.
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Eriko, Nagai, and 永井江理子. "A History of Japanese Translation of Modern Chinese Literature." Thesis, 2000. http://ndltd.ncl.edu.tw/handle/9fxgbs.
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Hartmann, Nan Ma. "From Translation to Adaptation: Chinese Language Texts and Early Modern Japanese Literature." Thesis, 2014. https://doi.org/10.7916/D8PK0DFW.
Повний текст джерелаАнотація:
This dissertation examines the reception of Chinese language and literature during Tokugawa period Japan, highlighting the importation of vernacular Chinese, the transformation of literary styles, and the translation of narrative fiction. By analyzing the social and linguistic influences of the reception and adaptation of Chinese vernacular fiction, I hope to improve our understanding of genre development and linguistic diversification in early modern Japanese literature. This dissertation historically and linguistically contextualizes the vernacularization movements and adaptations of Chinese texts in the seventeenth to eighteenth centuries, showing how literary importation and localization were essential stimulants and also a paradigmatic shift that generated new platforms for Japanese literature.
Chapter 1 places the early introduction of vernacular Chinese language in its social and cultural contexts, focusing on its route of propagation from the Nagasaki translator community to literati and scholars in Edo, and its elevation from a utilitarian language to an object of literary and political interest. Central figures include Okajima Kazan (1674-1728) and Ogyû Sorai (1666-1728). Chapter 2 continues the discussion of the popularization of vernacular Chinese among elite intellectuals, represented by the Ken'en School of scholars and their Chinese study group, "the Translation Society." This chapter discusses the methodology of the study of Chinese by surveying a number of primers and dictionaries compiled for reading vernacular Chinese and comparing such material with methodologies for reading classical Chinese. The contrast indicates the identification of vernacular Chinese as a new register that significantly departed from kanbun. Chapter 3 provides a broader view of the reception of Chinese texts in Japan in the same time period, discussing Hattori Nankaku (1683-1759), a kanshi poet and Ogyû Sorai's successor in literary criticism. Nankaku's contributions include a translation and annotation of the Tang shi xuan (J. Tôshi sen), an anthology of Tang poetry compiled by Ming poet Li Panlong (1514-1570). Such commentaries in accessible Japanese prose reflected the changing readership of Chinese texts, as well as the colloquialization of literary Japanese. Chapters 4 and 5 focus on literary translations and adaptations of Chinese narrative texts in different language styles. Chapter 4 analyzes kanazôshi ("kana booklet") stories by Asai Ryôi (1612?-1691) in comparison to their source text, the Ming Chinese anthology of supernatural stories New Tales Under the Lamplight (Jian deng xin hua). For a comparative perspective on translation style, this chapter also addresses adaptations of the same source story by Korean and Vietnamese authors. Chapter 5 looks into the literati genre of yomihon ("reading books") and focuses on Tsuga Teishô's (1718?-1794?) adaptations of Ming vernacular fiction by Feng Menglong. Teishô, a prolific author considered to be the inventor of this important genre, has been grossly understudied due to the linguistic complexity of his works. His adaptations of Chinese vernacular stories bridged different narrative traditions and synthesized various language styles. This chapter aims to demonstrate Teishô's innovative prose style and the close connections between vernacular Chinese and the development of early yomihon as a sophisticated, experimental genre of popular literature.
This dissertation illustrates the inextricable relationships between language transformation and genre development, between vernacularization and narrative literature. It departs from the long-standing paradigm of Sino-Japanese (wakan) literary study, which treats Sinitic writing as an integral part of Japanese literary discourse, emphasizing rather a comparative linguistic approach that addresses Chinese and Japanese linguistic and literary movements in parallel. Within this framework, this project is intended as a platform for further explorations of issues of cultural interaction and translation literature.
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Billings, Elliot Meier. "An annotated translation of "Accounts of supernatural retribution"/." 2004. https://scholarworks.umass.edu/theses/1331.
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李夢鸞. "A study missing translation and mis-translation from Japanese to Chinese in morden Japanese children literature." Thesis, 2003. http://ndltd.ncl.edu.tw/handle/74966676401602113156.
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Hsiao-ching, Lin, and 林筱青. "Translation Strategies for The Joy Luck Club:A Case Study of Chinese American Literature." Thesis, 2001. http://ndltd.ncl.edu.tw/handle/56350012893034863037.
Повний текст джерелаАнотація:
碩士輔仁大學
翻譯學研究所
89
Abstract While Chinese American literature is thriving in the United States, and recently in Taiwan’s academic field, the translation of the genre (back) into Chinese, as well as the discussion of it, has not been treated with equal attention. As a source text, Chinese American literature is unique in the following aspects. First of all, it resembles a post-colonial text in its juxtaposition of a powerful American culture/English and a relatively less advantaged Chinese culture/Chinese. It bears a similar characteristic of bilingual inter-text. Secondly, it involves a considerable amount of description of the author’s imagined past of the “mother country,” that is, life back in China or among overseas Chinese people. In this part, the author uses techniques such as borrowing Chinese idioms and metaphors, and romanizing Chinese saying in dialogues. Concerning these factors, a translator should develop a solution to each specific condition. Instead of translating word for word and passively shunning responsibility, s/he should work out feasible strategies and therefore makes his/her existence and intervention visible to the readers. This study is an attempt to propose a possible strategy to translating Chinese American works, using Amy Tan’s The Joy Luck Club as an example. The intentionally created “exotic” atmosphere, which permeates the original novel, will obviously lose its expected impact when translated into Chinese. Thus, translation of the Chinese description has to undergo a “de-exoticization” process, otherwise the representation would appear awkward and misplaced for Chinese readers, to whom the exquisitely designed exotic parts turn to be the most familiar ones. Translation is about intermediating and manipulating. As Susan Bassnett points out, “Contemporary studies on translation are aware of the need to examine in depth the relationship between the production of knowledge in a given culture and its transmission, relocation, and reinterpretation in the target culture.” In the second half of the twentieth century, Bassnett and other scholars, such as Lawrence Venuti, Andre Lefevere, Tejaswini Niranjana, to name but a few, have made a point. And this thesis sounds a respond to it by proving how a tailor-made translation strategy can make a difference.
40
Heinrichs, Jonathan. "Translation Issues in Modern Chinese Literature: Viewpoint, Fate and Metaphor in Xia Shang's "The Finger-Guessing Game"." 2019. https://scholarworks.umass.edu/masters_theses_2/834.
Повний текст джерелаАнотація:
The Finger-Guessing Game is a novel with many layers of themes, characterization, and metaphor, and conveying all of these varied aspects requires a detailed, careful approach to translation. With this thesis I aim to show that strictly adhering to a singular translation method, such as “word-for-word” or “sense-for-sense,” will produce unsatisfactory results at certain points within the novel. This is accomplished by an overview of several different unique aspects of the writing style of this novel, viewpoint, the theme of fate, and the use of idioms and metaphors. Following this will be an analysis of these aspects’ functions within the novel, and how to best translate them to retain their original meaning. In the end, I advocate for a case-by-case approach to the translation of this novel, wherein each unit of translation is considered individually, and the translator judges how to translate it in the best way possible. Only in this way can the meaning present at all levels in the text, from the themes down to the very language used, be translated in a manner which both reads naturally in English and still carries as much of the original meaning as possible.
41
Bo, Lamyu Maria. "Writing Diplomacy: Translation, Politics and Literary Culture in the Transpacific Cold War." Thesis, 2018. https://doi.org/10.7916/D8QG0903.
Повний текст джерелаАнотація:
This dissertation explores how literary translators mediated cultural diplomacy between the U.S. and China during the Cold War period. Focusing on best-selling bilingual authors Lin Yutang, Eileen Chang, Hua-ling Nieh Engle, and Jade Snow Wong, I show how these “cold warriors” negotiated political boundaries, concepts, and agendas while they wrote and translated literary texts. Their works, usually divided into Asian vs. Asian American literature, are here productively read together as pawns in the same ideological struggle, even as they exceed the traditional bounds of Cold War periodization, polarized nation-states, and disciplinary canons. Together, they evince new forms of transnational cultural production that shaped policies of containment, propaganda, resistance, de-colonialism, and racialization. This project thus theorizes translation as its own process of ideology-formation, rather than overlooking it as a mere medium for communication. In the end, examining linguistic exchange in the Cold War redefines what we conceive of as Asian-American, by reconfiguring the outright ideological struggle between Democracy and Communism as an equivocal conflict in the space opened up by translation.
42
HUNG, YU-HUI, and 洪毓徽. "Linguistic Hybridity in Taiwan Literature and Its Translation: A Case Study of the Taipei Chinese Pen." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/us32nu.
Повний текст джерелаАнотація:
碩士輔仁大學
跨文化研究所翻譯學碩士班
106
In terms of spoken language, Mandarin and Taiwanese Hokkien are used by the majority of people in Taiwan, and thus linguistic hybridity becomes a common phenomenon. Currently, as there is not a unitary standardized writing system for Taiwanese Hokkien, writers in Taiwan oftentimes need to use Mandarin as a medium of “transliteration,” which has grown into one of the most distinctive characteristics of the local literature. This study focuses on the works selected by the Taipei Chinese PEN, a quarterly featuring Taiwanese art and literature distributed in many countries, to examine the translation from the spoken Taiwanese Hokkien to the written Chinese, the strategies writers adopt to transliterate Taiwanese Hokkien, and the difficulties readers may encounter while reading literary works featuring this kind of linguistic hybridity. In addition, this study also explores the way translators deal with hybrid language, analyze the dynamic relationship between source and target texts, and investigate whether the linguistic hybridity in the source texts is represented, or re-constructed, in the target texts through translation. Aiming to serve as a reference for both writers and translators of local literature, this thesis, with in-depth analysis of both the source and target texts, outlines four strategies for presenting Taiwanese Hokkien in standard Chinese writing and seven strategies for translating hybrid language. It also delves into the price a writer pays for using hybrid language in their writing, as well as how the worldviews of the translated works deviate from the source.
43
Chou, Wen-Yen, and 周文炎. "Cultural-context Adaptation in Translation of Children’s Fantasy Literature – Chinese Translations of Five Children and It." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/93934p.
Повний текст джерелаАнотація:
碩士中原大學
應用外國語文研究所
106
The present study investigates how the cultural contexts proposed by Klingberg (1986) were adapted in the Chinese translations of Edith Nesbit’s fantasy children’s literary work, Five Children and It. The researcher examines the strategies and principles that are applied to convey these cultural contexts in its three Chinese translations based on Klingberg’s nine adaptation methods, and Lai’s (2000) and Tsai’s (1989) translation principles. From the textual analysis, the translators of the two publications in this study applied different translation strategies in their target texts (TT). One translator chose to delete cultural contexts or not provide enough cultural contexts of the source text (ST). Another translator used Glossary at the end of the chapters to explain cultural contexts, but this method might influence the reading of target readers. The major finding of this study shows that the following methods and principles can help translators preserve the ST cultural contexts in the target language: (1) Klingberg’s (1986) adaptation methods, including added explanation, rewording, and explanatory translation; (2) Lai’s (2000) translation principle of avoiding simplifying meaning in words when translating children’s literature; (3) Tsai’s (1989) principle of supplementing unclear contents of the ST; (4) Hsu’s (2008) methods of translating names when dealing with fantasy literature. Their functions are to imitate the way that children speak and solve the problem of insufficient cultural contexts to help target readers gain better understanding of the ST culture, without disturbing target readers’ reading flow. In addition, the characteristics and personalities of the roles in the story can be presented clearly in the TT.
44
Lee, Wan-chi, and 李畹琪. "Poetics of Translation and Poetics of Children''s Literature in Chinese Translations of Oscar Wilde''s Tales." Thesis, 2002. http://ndltd.ncl.edu.tw/handle/24945065272476909922.
Повний текст джерелаАнотація:
碩士臺東師範學院
兒童文學研究所
90
The nine tales that Oscar Wilde wrote for children had been translated into Chinese for almost a hundred years. Chou Tso-jen''s "Happy Prince" in 1909 was the very first translation of all, after which we may see nearly a hundred of Chinese translations and adaptations of the nine tales till today. The time when Wilde''s tales were first introduced to the Chinese was the early years of modern China, and it was also the time when Chinese intellectuals welcomed Western civilizations and New Culture Movement, and re-evaluated old traditions. This special timing showed the importance of introducing Wilde''s tales to China, and the needs of re-producing it during the following hundred years. Therefore, the thesis is aimed to make a chronological study on the translations of Wilde''s tales, in order to find out the poetics of translation and the poetics of children''s literature hidden, and to see how they change through the ages or influence the texts. The thesis includes three main parts. First of all, the reasons why China needed to translate Wilde''s literary works in the early 20th century are explained, and by dividing this period into three phases, the characteristics of translations of Wilde''s tales from 1907 to 1949 are also analyzed. Then the study focuses on the translations and adaptations published in Taiwan after 1949. Researches on translation theories for children''s literature help to find how translators and adaptors view or rewrite Wilde''s tales. At the end the thesis concludes that social, economic, or political factors had made Wilde''s tales three different roles throughout the time: they were once tools of literary revolution for new Chinese intellectuals, once instructions for children to learn proper and correct values, and finally beautiful literary works by a talented writer. Due to the educational elements that Taiwanese children''s literature workers insisted to keep in their works before 1995, adaptations of Wilde''s tales revealed the negative influence the insistence left on Taiwan children''s literature. Literary education was often neglected, and children didn''t know how to appreciate literary works or how to enjoy reading. Aiming at the phenomenon, several suggestions are given to be for translators or writers'' references.
45
"The Frustrations of Heaven's Fragrance: An Analysis and Translation of Guan Hanqing's Qian Dayin zhichong Xie Tianxiang." Master's thesis, 2011. http://hdl.handle.net/2286/R.I.9109.
Повний текст джерелаАнотація:
abstract: This thesis examines the play Qian Dayin zhichong Xie Tianxiang, written by the Yuan dynasty (1271-1368) playwright Guan Hanqing (c.1225-1302). The first chapter of this paper provides brief background information about northern style Yuan drama (zaju) as well as a plot summary and notes about the analysis and translation. Through a close reading of the play, I hope to illustrate how the play's complicated ending and lack of complete resolution reveals why it has received relatively little attention from scholars who have previously discussed other strong, intelligent female characters in Guan Hanqing's plays. The second chapter of this thesis includes translation of the play that is comprised of a wedge preceding the four acts. Before each act of the play is a critical introduction and analysis of the act to follow. Although many of Guan Hanqing's plays have been translated into English, this play has never been translated.Dissertation/Thesis
M.A. Asian Languages and Civilizations 2011
46
Valencik, Alexandra. "A Translation of Qiu Miaojin's "The Crocodile Diaries"." 2013. https://scholarworks.umass.edu/theses/981.
Повний текст джерелаАнотація:
Qiu Miaojin is known for her unapologetically lesbian fiction and tragically short writing career. Her novels were among the first in Taiwan to deal outrightly with lesbian identity and the social dysphoria that can accompany same-sex desire in these societies. Published in 1994 and winning the China Times Award for Literature in 1995, The Crocodile Diaries is a portrait of Taiwanese lesbianism amid the tumultuous decade of the 1990s, during which time Taiwan experienced a powerful feminist movement and opening up of society due to the lifting of marital law in 1987.
47
Chang, Li-wen, and 張力文. "Translation Strategies for Cultural Metamorphoses of Chinese American Literature in Taiwan: A Case Study of Lisa See’s Works." Thesis, 2012. http://ndltd.ncl.edu.tw/handle/35011527915004514268.
Повний текст джерелаАнотація:
碩士國立臺灣科技大學
應用外語系
100
Chinese American writers integrated the essence of Chinese legends, folktales, tradition and history into their writings. This is what makes their works intriguing to readers of different nationalities. However, many of these writers only learned of their culture through second hand stories, hence may result in misconceptions about their cultures. These misconceptions are termed Culture Metamorphosis. Even though Chinese American Literature has become a popular research field in Taiwan, very little research concerns its translation strategies, not to mention the lack of research on the issue of frequent-occurring cultural metamorphosis. Cultural metamorphosis may not cause confusion for readers of other nationalities. However, translations of these metamorphoses should be taken more seriously, for many Chinese readers may be confused by the translations, while non-Chinese readers may develop false understandings of the Chinese culture from these stories. In this study, the researcher combined Newmark and Chen’s translation strategy categorization to analyze translated works of Lisa See in Taiwan to find out whether there is any variance in translation strategies for cultural metamorphoses of similar text types. Using Venuti’s description of domestication and foreignization, strategies such as adaptation and idiomatic translation are considered as domesticating; while strategies such as word-for-word and literal translation are considered foreignizing. It is found that cultural metamorphosis occurred most frequently in the category of culture, which varies the most from area to area. This study shows that translators use idiomatic translation most often and tend to correct the metamorphoses encountered.. It is also found that translators take cultural norms into consideration and prefer domestication when translating culture metamorphoses into the story culture.
48
Chiu, Szu Chieh, and 邱思潔. "Translation Strategies of Cultural Metamorphosis in Chinese-American Literature---On Chinese Translations of Amy Tan's "Joy Luck Club" and Maxine Hong Kingston's "The Woman Warrior"." Thesis, 2005. http://ndltd.ncl.edu.tw/handle/46654269566800434011.
Повний текст джерелаАнотація:
碩士國立臺灣師範大學
翻譯研究所
94
Summary Intertexts are an obvious characteristic of Chinese American literature, which means English-speaking authors using English to describe stories related to Chinese culture or history. Proverbs, stories, or folktales told in these works are often different from the cognition of ordinary Chinese readers. In this thesis, I named this kind of difference as “cultural metamorphosis”. As a translator, how to deal with this kind of “cultural metamorphosis” in back translation? Should we render the text word for word to show respect for the authors? Or, should we modify the text to cater to the tastes of readers? No matter the answer is the former or the latter, what are the reasons of choosing a specific translation strategy? How do Taiwanese translators deal with the problem? The thesis tries to discuss the translation strategies of “cultural metamorphosis” through the Chinese translations of Amy Tan’s “Joy Luck Club” and Maxine Hong Kinston’s “The Woman Warrior”, both of which are classics of Chinese American literature. The Chinese translation of “Joy Luck Club” was translated by Yu Ren-rui and published in 1990. As to “The Woman Warrior”, two translations are available. One is Zhang-Shi’s version, and the other is Wu Qi-ping’s. Both of them were published in 1977. By utilizing Peter Newmark’s and Hans J. Vermeer’s translation theories, I explored the translation strategies of cultural metamorphosis through three aspects: authors, readers, and texts. It is hoped that the conclusions can serve as references for translators rendering similar texts. The conclusions are as follows: If the cultural metamorphosis belongs to the metamorphosis of information and facts, that is, “unconscious” metamorphosis, and the author is positioned as a popular writer who serves the general public, translators should modify the texts regarding the cultural metamorphosis, so as to fulfil the readers’ expectations. Amy Tan’s “The Joy Luck Club” is a case in point. On the contrary, if the cultural metamorphosis is the expressive creation of the author, that is, “conscious” metamorphosis, and the author’s position is more academic, serving the academic circles or educated people rather than the general public, translators should keep the original texts intact, so as to convey the messages of the author. Maxine Hong Kingston’s “The Woman Warrior” is a case in point. Key words: Chinese American literature, cultural metamorphosis, Amy Tan, Maxine Hong Kingston, translation.
49
Lexa, Filip. "Román Obležená pevnost jako překladatelská výzva." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-298844.
Повний текст джерелаАнотація:
Qian Zhongshu's novel Fortress Besieged (Wei cheng), employing a wide variety of literary devices and abounding in cultural references, is a piece of literature exceptionally difficult to translate. This thesis identifies the main categories of problems the translator will encounter during its translation. Taking the English, French and Spanish versions of the novel as its ground, the thesis investigates what the paths are that the translator chooses when translating literary works culturally remote from the target language reader. The author starts out with the theories of Jiří Levý and approaches translation problems from a functional standpoint. He finds out, however, that a successful translation requires an effort not only from the translator but equally from the reader.
50
Holtrop, Katherine G. "Psychological with a Xuanyi Afterthought: A Translation of Cai Jun's "Kidnapped" and a Critical Introduction to His Popular Suspense Fiction." 2018. https://scholarworks.umass.edu/masters_theses_2/649.
Повний текст джерелаАнотація:
Often hailed as “China’s Stephen King,” Chinese psychological suspense author Cai Jun occupies a position at the peak of the new wave of young authors flooding China’s popular literature market. In order to understand Cai’s popularity as an author, the impact his works and writing have on this market, and how he creates his particular brand of suspense fiction, it is both necessary to put his works into a larger context and analyze his writing. This thesis provides a brief overview of the recent literary scene in China, from the rise of internet literature and the comeback of genre fiction to the advent of mooks, the evolution of young adult literature, and the development of the author marketing industry, and also addresses the “pure vs. popular” controversy in China’s literary world, identifies how Cai fits into these trends, and determines who Cai is as a writer in terms of genre, story content, and literary reception through the translation and analysis of Cai’s short story “Kidnapped.”