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

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

One of the main aims of this thesis is to examine the translational situation of popular fiction in post-industrial Japan. Specifically, the goal is to uncover two main aspects surrounding the phenomenon of translationese, the language used in translation. One aspect to be investigated is the characteristic features of Japanese translationese, and the other is readers’ attitudes toward translationese. This research is conducted within the framework of Descriptive Translation Studies (Toury, 1995). The literature review includes a background of how translationese has been approached previously and how methods from different fields (e.g., corpus linguistics, sociolinguistics) can be used in the research of translation. Through the review of the historical background of Japanese translationese and the development of Japanese writing styles, it is revealed that the translation norm in Japan had been very closely oriented toward the original text. In the text analysis, the corpora consist of translations from English and non-translations (i.e., originally written in Japanese) in the genre of popular fiction. The goal of the text analysis is to determine whether the features of translationese are actually characteristics of translationese. The features selected for this examination include the following: 1) overt personal pronouns; 2) more frequent loanwords; 3) female specific language; 4) abstract nouns as grammatical subjects of transitive verbs; and 5) longer paragraphs. Two features (third person pronouns and longer paragraphs) are shown to be characteristic of translationese, while others were proven otherwise or questionable (loan words, female language, abstract nouns as subjects of transitive verbs). Findings from the investigation of readers’ attitudes can help identify what constitutes the “norms” of translation (Toury, 1995, 1999) in Japanese society. Readers appear to be able to tell the difference between translation and non-translation. However, readers’ attitudes toward both translationese and non-translationese are more or less neutral or slightly positive. This may indicate that Japanese translationese has become integrated into the contemporary Japanese writing system and that readers do not regard translationese as overtly negative. This study shows that the major translation norm is becoming more domesticated translation in popular fiction, with the focus on making translations easier for the readers. / Translation Studies

No description available.

This thesis investigates lexical simplification as a translation universal and how it is accounted for in the English-to-French legal translation of Latinisms. Within descriptive and functional approaches to translation, this thesis reveals that Latinisms are reproduced when they are accepted and not lexicalized in the target language or substituted by functional and semantic equivalents of the target language or system. It is posited that the lexical simplification of ST Latinisms as rendered by the English-to-French legal translator is dictated by system-specific, convention-specific, function-specific rather than translationspecific features. Of all corpus texts, source-text English uses the most Latinisms, but the French translators, unlike the non-translated French producers, tend to use Latinisms to a higher extent. Lexical simplification is hypothesized as viable when languages of similar sociolinguistic and lexical power and equal status render differently the lexical entities of the source text in simplified target text (compared to its non-translation similar text).

Maya Abu al-Hayyat (born 1980) is a Palestinian poet who thematizes motherhood, love, war/revolution, grief, and political hypocrisy in her poetry. In the context of Palestinian literature, she fits within a tradition of Resistance Literature, yet redefines it. Given that al-Hayyat has not been widely translated into English, this thesis presents 33 translations of her poems taken from her three poetry collections: Mā qālathu fīhī (Thus Spake the Beloved, 2007), Tilka al-ibtisāma-- dhālika al-qalb (This Smile, That Heart, 2012), and Fasātīn baytīyya wa ḥurūb (House Dresses and Wars, 2016). Throughout these three collections the poet shifts her use of vocalization and her poetic techniques. As argued throughout, translating al-Hayyat into English is important because it marks a shift from resistance as a uniform, collective experience to an individual and multifaceted one. Additionally, in this thesis I argue that the speakers in al-Hayyat's poetry are anxious agents. I interpret the speakers’ anxiety as manifested in the body and caused in part by living under occupation. The speakers are agents because they criticize patriotic motherhood and gender-based inequality. Finally, I explain how the translation concepts of renarration and the deformation zone inform each other because they force the translator confront their position in society and to the text. These terms are significant because they address the anxiety of translators potentially enacting orientalist violence and catering to American poetry values when translating Arabic women's poetry into English.

Published Article / This article argues that, whether she recognises it or not, the translator is an agent, i.e. someone with an active hand in the intercultural communication process. This position endows the translator with the responsibility to make decisions in intercultural communication that can have far-reaching ideological effects. For this reason, translators should be educated to be able to take up this responsibility. In this regard, the author proposes the notion of wisdom as the aim of translator education. The article also argues in favour of indigenising and even subverting translations in theAfrican context.

Published Article / This article questions current philosophies and practices in translator training in South Africa against the background of the international debate on translator training. It puts up for discussion the notion of a competent translator as the basis for departure in a discussion on translator training. The context within which translator training takes place is discussed, with specific reference to the South African context. The choice for a particular theory of teaching and learning, as well as assessment in translator training receives attention. The article puts forward various research questions that should be addressed in order to enhance translator training.

The aim of this Master's thesis is to introduce the Czech public to the works of the contemporary Spanish translator, historian of translation, professor and humanist, Miguel Ángel Vega Cernuda. In the introductory part we define the position of M. A. Vega in today's Spanish translation and interpreting studies. We focus mainly on a subject that is crucial for Vega - translation history in a cultural and social context. We also present Vega's own translations as well as his views on modern theory of translation and the education and profile of a translator. We also mention his cooperation with the Institute of Translation Studies and his connection to Jiří Levý, whom Vega introduced to the Spanish environment. Key words: Miguel Ángel Vega Cernuda, Spanish translation and interpreting studies, translation history, interpreting history, translations cultural aspect, free translation, faithful translation, Jiří Levý, Franciscans, conquest and colonization of the Americas.

As variantes dialetais de cada idioma possuem características geográficas, sociais, situacionais e culturais muito próprias e que podem vir a ser diferentes das encontradas em qualquer outra língua. Portanto, a tradução dessas variantes estaria diante de problemas para os quais seria necessário empregar uma variedade de técnicas tradutórias que, a nosso ver, merecem uma investigação mais detalhada. Assim, esta pesquisa tem como tema o estudo da tradução da representação literária do dialeto rural no romance Don Segundo Sombra (1926) do escritor argentino Ricardo Güiraldes para o português. A necessidade de um trabalho que vise analisar a tradução da representação literária do dialeto deve-se à falta de pesquisas sobre traduções de variantes dialetais que tenham como corpus original uma obra literária de língua espanhola e se baseie numa metodologia que exponha os dados de maneira qualitativa. A pesquisa fornece respostas às problemáticas que envolvem a tradução de dialeto e se beneficiarão dela todos os interessados nos aspectos da tradução de romances regionalistas, tal como aqueles que buscam amostras para os estudos dialetológicos na área de tradução. Analisamos a tradução com o auxílio do modelo de avaliação de qualidade de tradução de Juliane House (1997), baseado em quatro níveis de análise: função do texto individual, gênero, registro e linguagem/texto. Concluímos que o tradutor realiza um trabalho bastante satisfatório ao se aproveitar do contínuo dialetal existente entre o português brasileiro e espanhol, mais especificamente o português do Rio Grande do Sul e o espanhol do Rio da Prata, para marcar a linguagem da tradução como regional e estrangeirizadora. Por meio disso, ele consegue transmitir ao leitor a noção de que as personagens produzem uma variante marcada dialetalmente como não padrão/neutra, sem descaracterizá-las. / The dialect variants of each language have geographical, social, cultural and situational features very unique and that may be different from those found in any other language. Therefore, the translation of these variants would face problems for which it would be necessary to employ a variety of translation techniques that, in our view, deserve a more detailed investigation. Thus, this research theme is the study of translation of literary representation of rural dialect in the novel Don Segundo Sombra (1926) by Argentine writer Ricardo Güiraldes into Portuguese. The need for a work aimed to analyze the translation of literary representation of dialect is due to the lack of research on translations of dialect variants that have as source corpus a literary piece written in Spanish language and based on a methodology that expose data in a qualitative way. The research provides answers to problems involving the translation of dialect and it will benefit all interested in aspects of translation of regionalist novels, as well as those seeking dialect samples for studies in the field of translation. We analyzed the translation with the help of Juliane Houses model of translation quality assessment (1997), based on four levels of analysis: individual textual function, genre, register and language / text. We conclude that the translator performs a quite satisfying work as he takes advantage of the dialect continuum between Brazilian Portuguese and Spanish, more specifically the Portuguese from Rio Grande do Sul and Spanish from Rio de la Plata, to mark the language of translation as regional and foreignizing. By this, he manages to convey to the reader the notion that the characters produce a variant marked as dialectally nonstandard / neutral without uncharacterize them.