Centrado no campo dos Estudos da Tradução em confluência com o campo da Educação, este trabalho visou investigar, diretamente com as crianças leitoras, a recepção de poemas infantis traduzidos para o inglês, e contrastá-la à recepção dos respectivos poemas fonte, escritos em português, valendo-se, para a geração de dados, da prática de letramento Pensar Alto em Grupo (ZANOTTO, 2014). Os poemas fonte, \"As meninas\" e \"O menino azul\", pertencem à coleção de poemas Ou isto ou aquilo (1964), de Cecília Meireles. As versões para o inglês foram elaboradas pela pesquisadora, e pela poeta e tradutora britânica Sarah Rebecca Kersley, aplicando critérios que privilegiam a correspondência de atributos poéticos entre poema fonte e traduzido (BRITTO, 2002; 2005; 2010). O contraste entre as recepções fez-se com base nas interpretações infantis: cada poema fonte foi \'pensado-alto\' por dois grupos de crianças brasileiras e cada poema traduzido por dois grupos de crianças estrangeiras. Do lado brasileiro, crianças de 9 a 11 anos, matriculadas na EMEF Vera Lúcia Fusco Borba (São Paulo); do lado estrangeiro, crianças da mesma idade, matriculadas no correspondente Y5 das escolas inglesas Thriplow Primary School (Cambridge) e King David Primary School (Birmingham). No que concerne à Educação, este estudo contribuiu para confirmar a aplicabilidade do PAG como instrumento para promover a leitura de poesia no Ensino Fundamental I. No que concerne aos Estudos da Tradução, este estudo permitiu afiançar o PAG como ferramenta de apoio a tradutores e a estudiosos da tradução, em especial aos de literatura infantil e/ou aqueles voltados à recepção. Ao comparar as interpretações, foi possível apontar convergências de leituras entre os diferentes grupos, sugerindo que o horizonte de expectativas das crianças, no que concerne os valores afetivos na esfera doméstico-familiar é muito semelhante dentro de uma mesma cultura e também entre diferentes culturas. Foi possível também apontar divergências entre as interpretações, e distingui-las em pelo menos dois tipos: 1) aquelas motivadas pela ancoragem linguístico-cultural, a saber, os diferentes ambientes histórico-geográficos, em conjunto com a história de vida dos participantes, seu conhecimento de mundo, além do \"horizonte de expectativas\" dos leitores em face de uma nova obra (JAUSS, 1994 [1967]); e 2) aquelas provocadas por interferências na tradução e que, mesmo quando aparentemente inofensivas, podem provocar o popular \"efeito borboleta\" (ASLANOV, 2015) descrito na Teoria do Caos. Assim, no plano específico, a par dos dados gerados pelo PAG, o tradutor pode fazer escolhas mais conscientes e éticas. E num plano mais amplo, o estudioso pode se deparar com resultados que comprovem teorias já existentes ou apontem para novas hipóteses, novos caminhos. / This thesis, which encompasses both Translation Studies and Education Studies, examines how English-speaking young readers receive Brazilian childrens poems translated into English and compares their reactions to those of young Brazilian readers receiving the source poem in the childrens source language. This study uses data from the dialogical literacy practice known as Think Aloud in Group (ZANOTTO, 2014). The source poems, As meninas [Girls at the window] and O menino azul [The blue boy] are part of the collection Ou isto ou aquilo (1964) by Cecília Meireles. The English translation was rendered by the author together with British translator and poet Sarah Rebecca Kersley and subscribed to the criteria of correspondence of poetic attributes between the source poem and the translation (BRITTO, 2002; 2005; 2010). Comparison of how the poems were received was based on the childrens interpretations: each source poem was thought aloud with two groups of Brazilian children, and each translated poem was thought aloud with two groups of English-speaking children. In Brazil, the groups consisted of children ages 9 to 11 enrolled in the 4th grade at Vera Lúcia Fusco Borba Municipal State-Funded School (São Paulo); in England, the children were the same age and enrolled in the equivalent Y5 at Thriplow Primary School (Cambridge) and King David Primary School (Birmingham). In terms of education as a field of study, this research confirms the applicability of Think Aloud in Group as an instrument to encourage children in primary school to read poetry. In terms of Translation Studies, this work demonstrates the efficacy of Think Aloud in Group as a support tool for translators and scholars of translation, particularly for specialists studying childrens literature and/or how translated childrens literature is received by non-native speakers. A comparison of the childrens interpretations evidences convergences among the groups, suggesting that childrens horizons of expectations, in terms of home and family values, is very similar within the same culture as well as between different cultures. And two types of divergences in the interpretations are also apparent: 1) differences owing to linguistic and cultural references: the readers historical and geographic setting, individual life story, understanding of the world and \"horizon of expectations\" when exposed to a new poem (JAUSS, 1994 [1967]); and 2) differences caused by interferences in the translation that, even when seemingly innocuous, may lead to the popular butterfly effect\" expressed in chaos theory (ASLANOV, 2015). Thus, specifically speaking, using data from Think Aloud in Group practices allows translators to be more cognizant and ethical in their translating choices; and broadly speaking, these practices provide a rich data set that can be used both to test current theories and to generate new hypotheses.

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. / We tried to explore the notion of translator's style combining the analysis of translationstudies and the multilingual textometric methods (quantitatifs textual methods applied in thecorpora of aligned texts). Our corpus research is composed of three Chinese translations of one original text in French, namely Jean-Christophe by Romain Rolland (1904-1917), translated by Fu Lei (1952-1953), Han Hulin (2000) and Xu Yuanchong (2000), respectively. After describing the difficulties in building the French-Chinese parallel corpus, we conducted successively various textometric measures on the corpus in order to highlight the specificlexical and syntactic uses of each translator. The re-contextualization in the paral corpus of thestatistical differences of linguistic phenomena between translations and the consideration of socio-cultural factors at each time reveal the indicators of each translator's style. The detailed research on Chinese particles in translations studies, based on textometric comparisons, provides rich results revealing each translator's specific approaches in his work. The results garnered from the comparison of three Chinese translations of the same text between them, then with the French original text lay the groudwork for our proposition of the analyticalmodel on translator's style. We think that our present work offers a methodology for ascientific and systematic exploration to the notion of translator's style within the translationstudies.

En Amérique Latine, au XIXe siècle, la pratique de la traduction doit se comprendre dans un contexte post-colonial de construction de littératures nationales. Les sociologues de la traduction et la théorie des polysystèmes ont mis en évidence la façon dont la traduction participe à enrichir le répertoire littéraire d’une culture-cible en permettant l’accumulation de capital symbolique. Nos recherches se concentrent sur les pratiques et les trajectoires de quatorze poètes-traducteurs latino-américains, peu étudiés, ou en voie récente de réévaluation critique : Ignacio Mariscal, Rafael Pombo, Miguel Antonio Caro, Antonio Sellén, Antonio José Restrepo, Raimundo Correia, Rosendo Villalobos, Leopoldo Díaz, Ismael Enrique Arciniegas, Balbino Dávalos, Enrique González Martínez, Guillermo Valencia, Eduardo Díez de Medina et Álvaro Reis. Ceux-ci s’inscrivent dans le romantisme latino-américain, le modernismo hispano-américain et le parnasianismo brésilien. Tous traduisent tout au long de leur vie : des poètes classiques (Horace) mais aussi de plus en plus des poètes modernes, européens et américains (Hugo, Heredia, Longfellow…) ; des auteurs considérés comme majeurs (Baudelaire, Goethe, Poe) et d’autres aujourd’hui oubliés (Prudhomme, Richepin, Rollinat…). Ce dialogue poétique établi avec des figures internationales prestigieuses leur permet à la fois d’illustrer des langues en refondation depuis les indépendances, mais aussi d’expérimenter des mètres, des thèmes et des tonalités inédits. Nos auteurs publient leurs traductions dans des revues, ce qui est une pratique courante, mais surtout dans des recueils, ce qui est plus rare. Notre corpus met donc en valeur deux types de recueil, qui n’ont pas reçu de définition générique ferme : une forme mixte, composée de poésies originales et de poésies traduites, et une forme composée uniquement de traductions. Ces deux modèles ont des points communs avec les recueils poétiques originaux, les anthologies d’écrivain ou les anthologies de littérature étrangère, sans correspondre tout à fait à aucun d’entre eux. La singularité de nos recueils consiste en l’unité et l’identité du sujet qui sélectionne, traduit et réordonne les textes étrangers au sein de son livre. Nous envisageons donc le poète-traducteur latino-américain à partir de la figure du collectionneur, qui décontextualise des textes étrangers, les recontextualise dans une nouvelle série – le livre – , lui permettant de projeter et de construire son autorité poétique. Nos auteurs étant par ailleurs tous impliqués dans la vie politique de leur temps (ils sont députés, juges, voire président), nous démontrerons que le recueil de traducteur peut participer à la construction de projets politiques, et qu’il existe aussi bien un usage libéral de la poésie étrangère qu’un usage conservateur. / In 19th century Latin America, the practice of translation must be understood in a post-colonial context of the construction of national literatures. Sociology of translation and polysystem theory have highlighted how translation contributes to enriching the literary repertoire of a recipient culture by allowing the accumulation of symbolic capital. Our research focuses on the practices and trajectories of fourteen Latin American poet-translators who have been relatively under-studied or are in the process of recent critical re-evaluation: Ignacio Mariscal, Rafael Pombo, Miguel Antonio Caro, Antonio Sellén, Antonio José Restrepo, Raimundo Correia, Rosendo Villalobos, Leopoldo Díaz, Ismael Enrique Arciniegas, Balbino Dávalos, Enrique González Martínez, Guillermo Valencia, Eduardo Díez de Medina and Álvaro Reis. These poet-translators collectively belong to the movements of Latin American Romanticism, Spanish-speaking American Modernism, and Brazilian Parnassianism. Each of them produced poetry translations: classical poets (such as Horace) but also increasingly European and American Modern poets (Hugo, Heredia, Longfellow...); authors considered canonical (Baudelaire, Goethe, Poe), and others largely forgotten (Prudhomme, Richepin, Rollinat...). The poetic dialogue established with prestigious international figures allowed these poet-translators to legitimize their national languages following the Latin American independence era, and also enabled them to experiment with new meters, themes and tonalities. Our authors published their translations in journals, which was a common practice; but especially in poetry collections, which was less common. Our corpus therefore highlights two types of volumes which have not been formally defined and classified: a hybrid form, composed of original and translated poems; and a form composed solely of translations. These two forms have commonalities with poetry volumes in the original language, writer's anthologies, or foreign literature anthologies, but do not correspond entirely to any of them. The uniqueness of our poetry volumes consists in the unity and identity of the subject who selects, translates and reorders foreign texts within his book. We therefore consider the Latin American poet-translator from the figure of the collector, who decontextualizes foreign texts and recontextualizes them in a new series — the book — allowing him to project and build his poetic authority. As our authors were all involved in the political sphere (as deputies, judges, even presidents), we will demonstrate that the collections of translators can contribute to the construction of political projects, and that there is both a liberal use of foreign poetry as well as a conservative use.

Le but de cette thèse est de comprendre pourquoi la poésie d’Adrienne Rich (1929-2012), autrice étatsunienne majeure, est absente du champ littéraire français. Poétesse prolifique, Adrienne Rich reçut de nombreux prix littéraires tout au long de sa carrière. Essayiste, elle fut une théoricienne du mouvement féministe étatsunien. Des recueils de ses poèmes ont été publiés dans une vingtaine de langues dans le monde. En français, une quinzaine de poèmes d’Adrienne Rich a été traduite et publiée sur divers supports (anthologies, revues littéraires, blogs). Un recueil a été conçu en collaboration avec la poétesse, mais il n’a jamais été publié à ce jour. Malgré différentes tentatives pour accueillir la poésie d’Adrienne Rich en France (traduction de ses essais, inscription au programme de l’agrégation, lecture en librairie) elle est toujours en 2019 dans une situation ambiguë de présence mais d’invisibilité pour le lectorat français. Nous chercherons donc à expliquer cette réception en suspens en examinant d’abord les traductions de poèmes d’Adrienne Rich publiés en français. Qui en sont les auteurs et autrices ? Quelles sont leurs pratiques et les caractéristiques de leurs traductions ? Leurs travaux s’inscrivent dans le sous-champ éditorial de la poésie traduite en France qui sera analysé pour en identifier les dynamiques, les acteurs et actrices, les supports de diffusion. À la lumière de ces analyses qui relèvent de la sociologie de la traduction et de la réception, nous comparerons le cas de la poésie d’Adrienne Rich avec d’autres poètes mais surtout d’autres poétesses étatsuniennes contemporaines. Dans ce contexte de réception, il faut aussi prendre en compte l’histoire des idées. En effet, l’œuvre d’Adrienne Rich est marquée par l’engagement féministe de l’autrice, ce qui représente une caractéristique significative pour le transfert culturel que constitue la traduction. Nous nous intéresserons donc à l’histoire des mouvements mais aussi des courants de pensée féministes aux États-Unis et en France depuis les années 1960. Enfin, dans une démarche prospective, ce travail se propose d’envisager les modalités de conception d’un recueil de poèmes d’Adrienne Rich traduits en français à l’aune de l’analyse du champ éditorial de la poésie en France et d’une lecture microtextuelle des poèmes déjà traduits. Nous illustrerons cette réflexion par des traductions ou retraductions de quelques textes : comment traduire une poésie féministe ? / The aim of this thesis is to understand why the poetry of Adrienne Rich (1929-2012), the major United States poet, is absent from the French literary field. Adrienne Rich was awarded numerous literary prizes throughout her prolific career. As an essayist, she was one of the first theorists of the feminist movement in the United States. Collections of her poems have been published in almost twenty languages worldwide. In French, fifteen of her poems have been translated and published in different forms (anthologies, literary magazines, blogs). A collection was being drawn up in collaboration with the poet, but to this day has never been released. Despite several attempts to introduce her work in France—some of her essays have been translated, a collection of her poems was in the agrégation curriculum, and she was invited to read her work in a bookshop—in 2019 it remains largely invisible to French readers. This thesis will thus try to explain this “arrested” reception first by examining the translations of Rich’s poems which have been published in French. Who translated her poetry? How can we characterise their translations? Their work is part of the French subfield of translated poetry which will be analysed so as to identify what is at stake, who is involved and how the poetry is distributed. In the light of these analyses which come under the sociology of translation and of reception, the case of Adrienne Rich’s poetry will be compared with other US male and especially female poets from the same period. In this reception context, addressing the history of ideas is crucial. Indeed, Adrienne Rich’s work is marked by her engagement with feminism, which is a significant element in the cultural transfer which translation represents. As such, the history of feminist movements and theories in France and the United States since the 1960s will be subjected to close analysis. Lastly, in a prospective approach, this thesis will focus on the conditions for the possible publication of a collection of Adrienne Rich’s poetry translated into French, in light of the analysis of the publishing field of poetry in France and of a microtextual reading of her previously published poems. These considerations will be illustrated by new translations or retranslations of selected poems. At the heart of this research lies the question: how is feminist poetry to be translated?

Predominantemente representados a partir de imagens estereotipadas difundidas pelas grandes mídias internacionais, os povos árabes são sempre associados ao contexto de guerras, terrorismo e fundamentalismo religioso. Muito embora detenham uma cultura literária vastíssima, são pouco lidos através da produção de seus grandes escritores, tendo sua identidade cultural construída a partir do que se diz nas manchetes jornalísticas. Considerando o potencial que a tradução tem de formar identidades culturais nas comunidades receptoras e constituir-se uma forma de resistência, inovação e mudança cultural, no presente trabalho, propomos a tradução de excertos do romance Innah London ya azz, da escritora libanesa Hanan Al-Shaykh. Temos por objetivo realizar uma tradução que reconheça e evidencie traços da alteridade e receba o Outro enquanto Outro. Embora também defendamos que nenhum texto é capaz de transmitir uma visão geral de outra cultura, mas, pelo contrário, provê elementos que, de certa forma, somam-se às imagens que representam uma cultura, de modo a manifestar elementos para autodefinição. Disto decorre que o texto traduzido nunca compreende completamente um gênero existente em uma certa cultura, mas contribui para o processo dinâmico do diálogo no sistema literário. Além disso, o texto traduzido não transmite o mesmo significado produzido na língua de partida, pois as interpretações possíveis são concebidas baseadas nos recursos e limitações presentes na língua, no imaginário social, e sistema literário da comunidade de recepção. Portanto, os efeitos produzidos através de um texto traduzido no sistema literário não podem ser previstos, embora funcione como uma força de representação da alteridade e de autorrepresentação. / Predominantly represented by stereotyped images spread by the international media, Arab peoples have always been related to the context of war, terrorism, and religious fundamentalism. Although they possess a vast literary culture, they are hardly read through the production of their great writers, having their cultural identity constructed based on what is said about them in the journalistic headlines. Thus, we propose to present the translation of excerpts from the novel Innah London ya azz (2001), written by the Lebanese writer Hanan Al-Shaykh, considering the potential of the translation in shaping cultural identities in host communities. We aim to perform a translation which recognizes, and evidences traces of otherness receives the other as Other. Although, we also defend that no translated text is able to convey a full survey of another culture, but provides elements, which somehow add to the images of culture and as such provides material for self-definition. Hence translated text never comprehend totally an existent genre in a certain culture; instead, it contributes to the dynamical process of dialogue into the literary system. Besides that, no translated text conveys the same meaning produced in source-language; for the possible interpretations are conceived based on the limitations and resources present in the target language, the social imaginary, and the literary system of the target-community. Therefore, the effects produced by a translated text into the receptor literary system cannot be foreseen, although it certainly will function as a force of representation of others and self-definition.

The dominant part of the research on the “Yûgao” (The Twilight Beauty) story of the Japanese eleventh-century classic the Genji Monogatari (The Tale of Genji) is philological and often excludes a general literary analysis. This story has also been related to Japanese and Chinese literary influences, thereby placing the text in its literary context. The present study is an attempt to relate it more to theories to which it has hitherto been unrelated and thereby formulate a descriptive stylistics in a decontextual perspective. This aim also includes a look at how the theories confronted with the “Yûgao” story may be affected. First I introduce the problematics of context versus decontext by means of a survey of metapoetical texts about the monogatari (tale, narrative) genre with special regard to the Genji Monogatari. Next I analyze the characters and the setting, primarily using a narratological method. This is followed by an analysis of the story’s themes and motives. Chapter 5 looks at compositional elements, while the starting-point for the succeeding chapter is the interpretation of the “Yûgao” story as more or less a fairytale, and thus not as advanced  a narrative as the latter part of the work. I shall, in contrast, argue that there are quite a few aspects of this story that do not fit into the model of the folktale. In Chapter 7 decontextualization as a concept turns from the story as such to address another concept, namely metaphor. Here the meaning of metaphor is expanded in order to include concepts that are not necessarily seen as such. Subsequently, I investigate the symbolic system surrounding the moonflower (yûgao) image. Lastly, the concept of decontext is taken a step further to survey how the genre of the Genji Monogatari has been transformed in the process of translation into the Tale of Genji. The main conclusion is that the “Yûgao” story combines tragic themes with comic motifs to build a symbolic narrative with characters hovering between roles.

The present study addresses, in a comparative Swedish-French perspective, the derived adverb and its modification by a following adjective. From a translational point of view, the structure derived adverb + adjective is interesting, since its translation into French is reputed to generate problems. In this study, a linguistic approach is adopted to these translation problems. For the investigation, a corpus of 510 Swedish tokens representing the structure derived adverb + adjective, and their respective translations into French, was compiled. The tokens originate from 22 contemporary Swedish novels. The number of translators represented in the corpus amount to 14. The tokens were classified into two major groups: intensifying adverb + adjective and qualitative adverb + adjective. The former group was further divided into subcategories according to the semantic nature of the adjective from which the adverb is derived. The main objectives of the study are (1) to investigate the solutions adopted by the translators when rendering the construction derived adverb + adjective in French, (2) to analyse the factors − those inherent to the language and those situated on the contextual level − involved in the cases where the original structure is not maintained in the French translations, (3) to show that the solutions adopted by the translators differ according to which semantic category the adverb belongs to − the intensifying group or the qualitative group. Furthermore, the difficulties of making a clear division between intensifying adverbs and qualitative adverbs placed before the adjective are discussed at some length. The results show that when the adverbial element is intensifying, the same structure is more often maintained in the French translations than in those cases where the adjective is modified by a qualitative adverb. The study also demonstrates the great variety of factors involved in the cases where the structure derived adverb + adjective is not maintained in the French translations. These cases may be due to the fact that the equivalent of the Swedish phrase in question would form a non-established unit in French, to the lack of an equivalent adverb in French, to the tendency of the French language to favour nominal constructions, or to individual preferences of the translator.

Orientador: Diva Cardoso de Camargo / Banca: Emiliana Fernandes Bonalumi / Banca: Adriane Orenha Ottaiano / Resumo: O presente trabalho tem por objetivo analisar a tradução de vocábulos considerados recorrentes e preferenciais na obra As mulheres de Tijucopapo, de Marilene Felinto, bem como observar possíveis tendências de normalização por parte da tradutora Irene Matthews na tradução para o inglês: The women of Tijucopapo. Esta pesquisa é parte de um projeto maior, o PETra - Padrões de Estilo de Tradutores, coordenado pela Profa. Dra. Diva Cardoso de Camargo. A metodologia situa-se no campo dos estudos da tradução baseados em corpus (proposta de Baker, 1993, 1995, 1996, 2000, 2004; estudos sobre normalização de Scott, 1998; e pesquisas de Camargo, 2005, 2007), e no da linguística de corpus (estudos de Berber Sardinha, 2003, 2004); também se apoia na fortuna crítica da autora (trabalhos de Araújo, 2006; Bailey, 2010; Fiorucci, 2009; Gonçalves, 2001; Jacomel, 2008; Santos, 2005; Schmidt, 2009; Vieira, 2001; Wanderley, 2009 e Xavier, 2003). A pesquisa foi realizada por meio de uma combinação de análises semimanuais e de análises computadorizadas. Inicialmente, utilizamos o programa WordSmith Tools para obter a frequência das palavras na obra de Felinto. Em seguida, utilizamos a ferramenta KeyWords para identificar quais seriam as palavras-chave presentes no romance. Após esse levantamento, recorremos à fortuna crítica de Felinto e definimos cinco vocábulos considerados preferenciais da autora:"homem", "mulheres", "chuva", "amor" e "égua". Com base em Scott (1998), examinamos a tradução dos cinco vocábulos em relação a nove características de normalização. Os resultados encontrados nesta pesquisa mostram que a tradutora Irene Matthews tende a usar estratégias que podem ser identificadas como características de normalização / Abstract: This thesis aims at analyzing the translation of words considered recurring and preferred in the novel As mulheres de Tijucopapo, by Marilene Felinto, as well as observing possible tendencies of normalization by the translator Irene Matthews in the translation to English: The women of Tijucopapo. This research is part of a bigger project, the PETra (Padrões de Estilo de Tradutores), coordinated by Doc. Diva Cardoso de Camargo. The methodology employed is that of corpus-based translation studies (proposed by Baker, 1993, 1995, 1996, 2000, 2004; Scott's study concerning normalization, 1998; and Camargo's research studies, 2005, 2007), and that of corpus linguistics (Berber Sardinha's study, 2003, 2004). We also base our study on Felinto's critical heritage (studies by Araújo, 2006; Bailey, 2010; Fiorucci, 2009; Gonçalves, 2001; Jacomel, 2008; Santos, 2005; Schmidt, 2009; Vieira, 2001; Wanderley, 2009, and Xavier, 2003). The research was carried out by means of a combination of semi- manual and computerized analyses. Initially, we used the computer software WordSmith Tools to obtain the frequency of the words in Felinto's book. Then, we went on to use the tool KeyWords to identify which would be the keywords in the author's novel. After collecting these data, we used Felinto's critical heritage in order to select five words that could be considered as recurring and preferred in Felinto's writing: 'homem' ('man‟), 'mulheres' ('women)', 'chuva' ('rain'), 'amor' ('love') and 'égua' ('mare'). Based on Scott (1998), we analyzed the translation of the five selected words in relation to nine normalization features. The results obtained in this study show that the translator Irene Matthews tends to use strategies that may be identified as features of normalization / Mestre

On the assumption that the translation strategies used to translate American fast-food advertisements into Arabic cause the Arabic translations to be culturally bound to their originals, the aim of the present study is to identify such translation strategies. The study was conducted with the aid of questionnaires as a primary research method to obtain data which are then complemented by means of textual analyses of the corpus. The findings reveal that the main translation strategies used to translate phrases in fast-food advertisements from English into Arabic are borrowing and transliteration. The overall finding is that inadequate translations of culture-specific concepts, phrases, logos and terms produce target texts which are bound to the source texts. This causes the translations to be rejected by the target culture. / Linguistics and Modern Languages / M.A. (Linguistics)

Comment adapter des technologies de la traduction, initialement conçues pour des traducteurs spécialisés professionnels, à des experts métier devant traduire pour leur entreprise ? Pour répondre à cette question, nous avons comparé les pratiques de ces deux types d'utilisateurs, à l’aide de questionnaires. Ensuite, nous avons constitué un corpus à partir de traductions d’experts métier et nous l’avons passé en revue pour renforcer l’analyse des différences. La différence la plus flagrante est l'utilisation de la traduction automatique (TA) ainsi que le contexte de production des traductions. La réalité du terrain montre en effet des textes source qui ne sont souvent pas exploitables par des machines ; nous proposons de travailler sur l'exploitabilité informatique des textes. En étudiant les technologies de TA actuelles, nous constatons qu'elles permettent soit une post-édition en langue cible après le processus de traduction, soit une pré-édition en langue source avant le processus de traduction. Nous suggérons de tirer profit de la situation inédite de rédacteur traduisant, pour utiliser l’expertise du rédacteur pendant le processus de traduction et de développer une fonctionnalité de TA permettant une édition en cours de processus. / How to adapt translation technologies, initially designed for professional translators, to domain experts who have to translate for their company?We address this issue by first comparing the practices of two groups of translators, professional and non-professional, with two surveys. Secondly, we built a corpus of translations done by domain experts and we studied it to reinforce the analysis. The most obvious difference are the use of machine translation (MT) and the production context. Actually, the reality in companies shows texts, in source language that often cannot be processed by machines; we propose to focus on text processability. By looking at current MT technologies, it appears that they can either post-edit the texts that are in target language, after the translation process or pre-edit the texts that are in source language, before the translation process. We propose to take advantage of the unprecedented situation of having the "writer" and the "translator" working together, to use the writer expertise during the translation process by creating a new MT feature that allow editing during the process.