Text in English / Undergraduate students at the Eduardo Mondlane University (UEM) experience great difficulty in developing their translation competence during their training period. On the one hand, they show many signs of poor quality during their training when they accomplish practical translation assignments on and off-campus. On the other hand, the quality of the final work submitted in partial fulfilment of the requirements for the Bachelor Honours Degree (Licenciatura) suggests that most students fail to go beyond the minimum standards with regard to translation competence. Yet, comprehensive research aimed at understanding factors hindering translation competence at the UEM has been scanty. Besides, the few studies available have some significant lacunae, for they focus on Portuguese language development; are limited to error analysis, and often ignore students‟ perspectives. Consequently, the problem of finding a balanced approach to developing students‟ translation competence has remained unaddressed. Therefore, this study has been conducted with the purpose of investigating the translation competence of the UEM undergraduates in order to establish the major obstacles to their translation competence development, and consequently come up with suggestions for improving the current translator-training degree programme. The study design uses qualitative methods translated into a case study approach. First, questionnaire data is analysed to gain lecturers‟ and students‟ perspectives on translation competence at the UEM. Second, a students‟ error typology is developed following a macro- and micro-textual analysis of their translations. The study concludes that substandard bilingual skills, compounded by curricular, attitudinal/motivational, pedagogical and infrastructural/instrumental factors, negatively impact the students‟ development of translation competence at the UEM and that addressing these may pave the way towards improving the current translation-training programme. / Linguistics and Modern Languages / M. A. (Linguistics)

O presente trabalho propõe uma estratégia de tradução para Táxi baseada principalmente na abordagem cultural da tradução em busca de reproduzir o contraste entre árabe padrão e dialeto presente no original. Táxi, do egípcio Khalid al-Khamissi, traz pequenas histórias (addtas) que retratam conversas do autor/personagem com taxistas das ruas do Cairo, nas quais os mais diversos aspectos socioculturais são abordados. Para tratar desse tópico o autor escolheu um recurso linguístico que ainda gera polêmica na prosa árabe: todos os diálogos, que compõem a maior parte da obra, estão em dialeto árabe enquanto as partes narrativas estão em árabe padrão. Esse contraste, que deriva naturalmente da situação de diglossia presente nas comunidades falantes de árabe, cria um efeito de oralidade, bem como é relevante para a lógica interna da narrativa. Assim, a proposta de tradução apresentada considerou a natureza da composição da obra, o momento histórico e o funcionamento da diglossia no Egito para buscar no português recursos para reproduzir os efeitos relevantes dessa alternância sem comprometer a representação da cultura egípcia. Para estabelecer os possíveis recursos no português foram utilizadas principalmente pesquisas do NURC/SP. / This masters dissertation proposes a strategy to translate the book Taxi to Portuguese based specially on the cultural approach to translation. The strategy aims at the reproduction of the contrast of standard Arabic and Egyptian dialect verified in the original. The book Taxi by the Egyptian author Khalid al-Khamissi, is composed by short stories (addtas) that depict conversations between the author (as a character) and taxi drivers working on the streets of Cairo. Considering that different social and cultural aspects are explored in these dialogues, the author chose a linguistic procedure that is still source of polemic in the Arabic prose studies: all the dialogues, which constitute the most part of the work, were written in Egyptian dialect, while the typical standard Arabic was used for the narrative. This contrast, which is a reflex of the presence of diglossia in the Arabic speaking communities, creates an effect of oral text, as well as is relevant for the internal logic of the narrative. Thus, the translation proposed has considered the nature of the composition, the historical moment and the way diglossia works in Egypt with the aim of reproducing the relevant effects created by the linguistic alternation of the original without compromising the depiction of the Egyptian culture. In order to stablish the possible resources present in the Portuguese language, the linguistic works from NURC/SP (studies on Educated Urban Norm of São Paulo) were specially consulted.

This research aimed to determine whether the rejection by Russian Orthodox Church leaders of recent translations of the Bible into Russian could be ascribed to a conflict of Russian and Western translation norms. Using Lefevere's (1992) notion of systems, the study compared the norms of Russian Bible translations, Western Bible translation and Russian literary translation, as well as those of a segment of the target audience, to determine the extent of their compatibility with each other and with the translations in question. The results showed that the recent translations did reflect the norms of Western Bible translation, but that these were not atypical of norms for previous Russian and Slavonic translations, nor for the norms of Russian literary translation. However, the results also showed that in practice target audience norms mirrored those of the Russian Orthodox Church, resulting in a similar rejection of the newer translations. / Linguistics and Modern Languages / M.A. (Linguistics)

[pt] Esta tese apresenta uma análise de reescritas brasileiras dos contos de Charles Perrault, sob uma perspectiva diacrônica e sincrônica, com o objetivo de compreender as diferentes formas como os contos do autor francês do século XVII têm sido reescritos no sistema literário brasileiro. Publicada na França, em 1697, a obra Histórias ou Contos do tempo antigo com moralidades ou Contos de Mamãe Gansa, alçada posteriormente à categoria de clássico da literatura infantojuvenil, contém oito contos em prosa, seguidos de moralidades em verso ao final de cada narrativa: A Bela Adormecida no bosque, O Chapeuzinho Vermelho, Barba Azul, O Mestre Gato ou o Gato de Botas, As Fadas, A Gata Borralheira ou A Sapatilha de Vidro, Riquete do Topete e O Pequeno Polegar (títulos dos contos de acordo com a tradução de Mário Laranjeira). Nesses contos, ao mesmo tempo em que recupera histórias populares da oralidade, Perrault insere sua marca autoral, a moralidade em verso, comentário final do autor sobre a história contada em prosa. Considerando que as moralidades possuem uma dupla função - autoral e literária - esta pesquisa se volta para o estudo da transmissão dos contos no Brasil com foco nesse duplo aspecto: a questão da autoria e a questão da literariedade. Tendo como principal pilar teórico os Estudos Descritivos da Tradução e adotando a metodologia de Lambert e Van Gorp, o corpus objeto de análise é composto por reescritas (e seus paratextos) publicadas em livro, desde o momento inicial em que os contos surgem no sistema literário brasileiro, ao final do século XIX, até a contemporaneidade, com a mais recente reescrita publicada em 2016. São também examinados alguns metatextos, tais como cartas e entrevistas, que auxiliam na compreensão das propostas dos reescritores e editores das obras. A partir das noções de André Lefevere acerca de reescrita e patronagem, considera-se que reescritas exercem papel central para o estabelecimento e a manutenção de cânones literários e projetam imagens novas ou distintas de obras e autores, de acordo com concepções ideológicas e poetológicas dos responsáveis pelas publicações (reescritores, prefaciadores, editores). Portanto, esta tese propõe a adoção de uma linha de pesquisa para os estudos literários que atente para a centralidade do fator reescrita, quando são analisadas obras estrangeiras inseridas em sistemas literários alvo. Como será visto no caso de Perrault no Brasil, as reescritas mais recentes, com diferenças relevantes em termos literários em relação às reescritas mais antigas, projetam novas imagens da obra e do autor, possibilitando novas leituras por parte do público leitor contemporâneo. / [en] In this doctoral dissertation, Brazilian rewritings of Charles Perrault s tales are analysed from a diachronic and synchronic perspective with the aim of comprehending the different forms in which this seventeenth-century French writer s stories have been rewritten in the Brazilian literary system. Published in France in 1697, Stories or Tales of Bygone Times, with Morals or Tales of Mother Goose, which was later acknowledged as a classic of children s literature, contains eight tales in prose followed by morals in verse at the end of each narrative: The Sleeping Beauty in the Wood, Little Red Riding-Hood, Bluebeard, The Master Cat or Puss in Boots, The Fairies, Cinderella or The Little Glass Slipper, Ricky of the Tuft and Little Thumb (full translations of the titles from the French source text). In these tales, while drawing on popular stories from the oral tradition, Perrault inserts his trademark morals in verse, offering a final comment on the story told in prose. Considering that the morals have a twofold function - both authorial and literary - the transmission of the tales in Brazil is studied with a focus on this dual aspect: authorship and literariness. Taking Descriptive Translation Studies as the main theoretical perspective and adopting Lambert and Van Gorp s methodology, the corpus under analysis is composed of rewritings (and their paratexts) published in books, ranging from when the tales first appeared in the Brazilian literary system in the late nineteenth century to the current day, the most recent of which having been published in 2016. Some metatexts are also examined, such as letters and interviews, which are helpful for understanding the rewriters and editors objectives. Based on Andre Lefevere s theoretical work on rewriting and patronage, it is suggested that rewritings exert a central role in establishing and maintaining literary canons and project new or distinct images of works and authors, according to the poetological and ideological conceptions of the actors responsible for the publications (rewriters, preface writers, editors). Therefore, a proposal is made for the adoption of an approach for research in literary studies that takes account of the centrality of the rewriting factor, in analyses of foreign works in target literary systems. As seen in the case of Perrault in Brazil, the most recent rewritings, which differ significantly in literary terms from the older rewritings, project new images of the work and the writer, making new readings possible for a contemporary readership.

This thesis explores the reception of Johann Joachim Winckelmann in Italian art scholarship, 1755-1834. Winckelmann posed a problem: he was a presence in Italy that could not be ignored, yet the views he expounded were Italophobic and contentious to an Italian readership. In light of this dilemma, the research question asked is how did Italian art scholarship respond to Winckelmann in this period and why did it respond in that way. The core argument advanced is that there were two opposing reactions to Winckelmann, both of which were motivated by nationalism. On the one hand, Italian art scholars presented Winckelmann, his works, and his views as less attractive to an Italian readership than they would otherwise have appeared and, on the other hand, they presented him as more attractive. Through these reactions – termed foreignization and domestication respectively – art scholarship either defended against and ostracized Winckelmann or, when presented as less offensive, welcomed and embraced him amongst Italians. Thus this thesis argues that both reactions demonstrate a nationalistic attempt to portray Winckelmann in the manner most auspicious to the yet-to-be-united peninsula. In order to explore this response to the German scholar, the thesis centres on three media: translations, art literature, and artistic journalism. Both foreignization and domestication are evident throughout the sources analysed, yet there is a predominance of domestication, achieved through a variety of methods. This investigation adds to existing literature by examining the previously overlooked dilemma that Winckelmann posed. Moreover, employing the original conceptual framework of foreignization and domestication allows for a re-evaluation of how the art scholarship of the period engaged with the German scholar. Finally, demonstrating the infiltration of nationalistic sentiment in this period, even extending to Italian art scholarship, this thesis is the first to posit that nationalism played a significant role in Winckelmann's critical legacy.

In deze scriptie wordt onderzocht hoe spreektaal in de Nederlandse kinderboeken Krassen in het tafelblad en Ik ben Polleke hoor! vertaald is naar het Zweeds. De analyse is gemaakt volgens de theorie over vertaalnormen van de descriptieve vertaalwetenschap, en uitdrukkingen van spreektaal worden geanalyseerd vanuit Lindqvists (2005) indeling op drie niveaus: fonologisch/ morfologisch niveau, lexicaal niveau en syntactisch niveau. Het onderzoek toont aan welke strategie de vertalers mee hebben gewerkt en de vertaalnormen die mogelijk invloed hebben gehad tijdens het vertalen. Het resultaat wijst op dat de spreektaal in Krassen in het tafelblad vrijer vertaald is dan de spreektaal in Ik ben Polleke hoor!. Beide vertalingen tonen een streven aan om binnen de doelcultuur te passen, maar Krassen in het tafelblad ligt dichter bij een aanvaardbare vertaling dan Ik ben Polleke hoor!, die zich dichter bij de brontekst bevindt en gezien kan worden als een meer adequate vertaling. / This thesis examines how spoken language in the Dutch children's books Krassen in het tafelblad and Ik ben Polleke hoor! has been translated into Swedish. The analysis is done according to the descriptive translation studies’ theory of translation norms, and spoken language expressions are analyzed by using Lindqvist's (2005) classification of spoken language markers on three levels: the phonological/ morphological level, the lexical level and the syntactic level. The survey shows the translation strategies used by the translators and the norms that may have had an impact during the translation process. The result shows that the spoken language in Krassen in het tafelblad is more freely translated than the spoken language in the translation of Ik ben Polleke hoor!. Both translations show an ambition to fit within their target culture, but Krassen in het tafelblad lies closer to an acceptance-oriented translation than Ik ben Polleke hoor!, that adheres more to the source text and can be seen as a more adequate-oriented translation.

While translation can be studied with a view to throwing light on a number of aspects in life, in this thesis translation has been researched with a view to outlining the development of written Zulu from its earliest stages, using twelve texts of the Book of Matthew. The Book of Matthew has been chosen in this undertaking because it was the first book of the Bible to be translated into Zulu and was thought to be the most apposite instrument with which the development of written Zulu could be measured. The polysystem theory and the descriptive approach to translation studies are the theoretical models that inform the arguments presented in this study. Polysystem theory sees translated literature as a system operating in the larger social, literary and historical systems of the target culture, while with the descriptive approach translations are regarded as facts of the target culture. Against this premise the focus of this study is mainly on the twelve translations of the Book of Matthew and no comparisons between source and target texts are undertaken here. Corpus-based research provided tools such as WordSmith Tools 3.0 for linguistic analysis. Biblical texts were obtained, scanned and presented in electronic format ready to be analysed. From the findings drawn, written Zulu developed all the way through Bible translation, with some translations revealing slight developments and others showing enormous ones. As the findings of this study reveal, Zulu developed gradually, as evidenced by the change to conjunctive writing which occurred over a considerable period, along with the appropriate representation of Zulu speech sounds and grammar conventions. It could also be established at what point during the development of the language, processes such as consonantalisation and palatalisation were introduced into the written language. It is also clear that words of Greek and Hebrew origin were brought into the Zulu language through Bible translation. Furthermore, this study demonstrates that it is feasible to use corpus-based research for analysis in the indigenous languages of South Africa. / Linguistics and Modern Languages / D. Litt. et Phil. (Linguistics)

Articulée en trois chapitres, cette thèse qui vise à endiguer la toute-puissance de la traductologie porte, d’abord, sur l’analyse d’un extrait de Simenon inséré dans La belle Hortense, puis sur l’examen des erreurs relevées dans 40 versions d’étudiants de l’université de Venise confrontés avec un passage d’Agnès Desarthe et, enfin, sur la traduction du « Maladroit » de Raymond Queneau par Umberto Eco. Comme le titre l’indique, cette thèse revendique l’importance de la pratique. Ce n’est pas à force d’étudier des grammaires qu’un jour on se réveille écrivain, une plume ou un clavier à la main. De même, c’est une évidence, on ne devient pas traducteur sans traduire, bien que l’exercice ne puisse garantir l’excellence du résultat. C’est un truisme, une lapalissade dont il n’est pas inutile de rappeler la vérité, à un moment où la traductologie devient de plus en plus envahissante. Comme toute théorie, elle tend à l’abstraction et à la généralisation, tandis que la pratique, elle, se confronte au hic et nunc. C’est pour cela même qu’elle risque de se révéler non seulement inadéquate, mais aussi dangereuse. Car la littérature, loin d’être l’application de la norme, est le lieu de l’écart. Or, il est difficile de résister à l’autorité d’un dictionnaire, d’un traductologue ou d’un critique, plus difficile encore s’ils sont auréolés de prestige. Toute traduction comporte deux phases. La première est axée sur une analyse stylistique du texte-source et implique une excellente maîtrise de la langue et de la culture de son monde d’origine. C’est le moment de l’esclavage où le traducteur est complètement au service de l’auteur, où il cherche à comprendre sans juger, où – tel un amoureux – il écoute sa voix pour pouvoir l’interpréter. Mais le moment de l’esclavage qui enchaîne au texte originel est aussi le moment de l’apprentissage, le moment où le traducteur peut pénétrer les secrets d’une écriture d’auteur. Sans cette phase préalable, on ne devrait même pas parler de traduction. Si on ne lit pas attentivement – à la loupe – l’œuvre qu’on doit transplanter ou si on ne connaît pas assez la matière dont elle est faite, on finit par se fier aux dictionnaires, par appliquer des recettes toutes faites. C’est une autre voix que celle de l’auteur que l’on entendra, alors, au-delà des frontières. C’est dans cette phase que des préjugés ou des brouillages théoriques assez enracinés ou assez puissants sont intervenus, d’après mon analyse, dans les extraits examinés. Ils ont entraîné la banalisation de Simenon (mais non de Roubaud qui emprunte ses mots) aussi bien que la plupart des incorrections des étudiants (souvent induites paradoxalement par l’usage du dictionnaire). Ils ont poussé également Umberto Eco à remanier radicalement un texte de Raymond Queneau qu’il avait considéré comme l’un des moins réussis, alors qu’il est sans aucun doute l’un des plus importants – et peut-être le plus important - des Exercices de style. Dans la deuxième phase, le traducteur qui accepte d’écrire sous contrainte – sous les contraintes que lui impose le texte-source – connaît aussi la joie de la liberté. Car la contrainte le libérera et le poussera à exploiter toutes les potentialités insoupçonnées, toutes les ressources de la langue et de la culture d’arrivée pour rendre le plus fidèlement la voix de l’auteur, auquel l’analyse et la compréhension l’ont enchaîné. C’est un effort de Sisyphe, mais qui peut rendre heureux. Car c’est aussi en traduisant qu’on devient écriveron. / Set out in three chapters, this thesis which has the aim of investigating the omniscience of translation, starts out by analyzing an extract from Simenon in La Belle Hortense then moves to a study of the mistakes made in 40 translations by students at the University of Venice from a text by Agnès Desarthe and, finally, looks at the translation by Umberto Eco of Raymond Queneau's "Maladroit".As its title suggests, this thesis underlines the importance of practice. One does not suddenly wake up a writer one morning, a pen at the ready simply because one has studied grammar.At the same time one obviously does not become a translator without translating, although practice in itself does not guarantee the excellence of the outcome. This is a truism worth remembering at a moment when translation studies are becoming more and more invasive. Like every theory it tends towards abstraction and generalization while practice concerns itself with the here and now. But it is exactly for this that it risks revealing itself not only as inadequate but also dangerous. For literature, far from being the application of the norm, is where the gap exists. However it is difficult to resist the authority of a dictionary, of a translation expert or of a critic, even more so if they are surrounded by a halo of prestige.Every translation consists of two phases. The first is based on a stylistic analysis of the source text and implies an excellent mastery of the language and of the culture from where it originates. This is the moment of enslavement when the translator is at the complete service of the author, where he tries to understand without judging, like a lover, he listens to his voice so that he can interpret it. But the stage of enslavement which chains one to the original text is also the moment of apprenticeship, the moment when the translator can enter into the secrets of an author's writing. Without this initial phase, one should not even speak of translation. If one does not read carefully, as under a magnifying glass, the work that one must transplant and where one does not know sufficiently what makes it up, one ends up by relying too much on dictionaries, to apply ready-made solutions. There is another voice apart from the author's that one must hear, beyond the normal boundaries.It is in this phase that well-rooted and strong prejudices or theoretical garble, according to my analysis, have intervened in the extracts examined. They have caused a banalisation of Simenon (but not of Roubaud who borrowed his words) as well as most of the errors of the students (and often brought about, paradoxically, the use of dictionaries). In the same way they pushed Umberto Eco to meddle radically with a text of Raymond Queneau that he considered one of the latter's less successful ones, even though it is one of the most important, and perhaps the most important, in Exercices de style.In the second phase, the translator who accepts to write under constraint, under the constraints imposed by the source text, also knows the joy of liberty. Because the constraint will free him and push him to take full advantage of unexpected potentiality, of all the resources of the language and culture and to render the voice of the author in the most faithful way, and to whom the analysis and comprehension chained him. It is the work of Sisyphus but which can create contentment. Because it is also by translating that one becomes a writer.

O presente trabalho propõe uma estratégia de tradução para Táxi baseada principalmente na abordagem cultural da tradução em busca de reproduzir o contraste entre árabe padrão e dialeto presente no original. Táxi, do egípcio Khalid al-Khamissi, traz pequenas histórias (addtas) que retratam conversas do autor/personagem com taxistas das ruas do Cairo, nas quais os mais diversos aspectos socioculturais são abordados. Para tratar desse tópico o autor escolheu um recurso linguístico que ainda gera polêmica na prosa árabe: todos os diálogos, que compõem a maior parte da obra, estão em dialeto árabe enquanto as partes narrativas estão em árabe padrão. Esse contraste, que deriva naturalmente da situação de diglossia presente nas comunidades falantes de árabe, cria um efeito de oralidade, bem como é relevante para a lógica interna da narrativa. Assim, a proposta de tradução apresentada considerou a natureza da composição da obra, o momento histórico e o funcionamento da diglossia no Egito para buscar no português recursos para reproduzir os efeitos relevantes dessa alternância sem comprometer a representação da cultura egípcia. Para estabelecer os possíveis recursos no português foram utilizadas principalmente pesquisas do NURC/SP. / This masters dissertation proposes a strategy to translate the book Taxi to Portuguese based specially on the cultural approach to translation. The strategy aims at the reproduction of the contrast of standard Arabic and Egyptian dialect verified in the original. The book Taxi by the Egyptian author Khalid al-Khamissi, is composed by short stories (addtas) that depict conversations between the author (as a character) and taxi drivers working on the streets of Cairo. Considering that different social and cultural aspects are explored in these dialogues, the author chose a linguistic procedure that is still source of polemic in the Arabic prose studies: all the dialogues, which constitute the most part of the work, were written in Egyptian dialect, while the typical standard Arabic was used for the narrative. This contrast, which is a reflex of the presence of diglossia in the Arabic speaking communities, creates an effect of oral text, as well as is relevant for the internal logic of the narrative. Thus, the translation proposed has considered the nature of the composition, the historical moment and the way diglossia works in Egypt with the aim of reproducing the relevant effects created by the linguistic alternation of the original without compromising the depiction of the Egyptian culture. In order to stablish the possible resources present in the Portuguese language, the linguistic works from NURC/SP (studies on Educated Urban Norm of São Paulo) were specially consulted.

[pt] Esta dissertação se insere no contexto das discussões contemporâneas sobre abordagens às tecnologias da tradução na formação universitária de tradutores profissionais. Este estudo parte de uma análise de um afastamento percebido entre ensino universitário e prática profissional no âmbito estrito da formação de tradutores para investigar o papel do tratamento dispensado às tecnologias da tradução nessa conjuntura. Para tanto, como base teórica e metodológica, este trabalho usa postulados dos Estudos da Tradução sobre o objeto de seus ramos descritivos e aplicados e os estudos desenvolvidos pela pedagogia da tradução em torno do que seriam competências tradutórias para, então, propor um modo de inserção da tecnologia no processo de formação de tradutores. É feita, então, uma inclusão das tecnologias da tradução no contexto dos modernos Estudos de Ciência e Tecnologia em seus aspectos descritivos - notadamente os trabalhos sobre Ciência, Tecnologia e Sociedade (CTS) e a Teoria Ator-Rede (TAR) - para verificar expectativas sobre processos e resultados da tradução por causa da presença intensiva da tecnologia. Por fim, com base nas inter-relações expostas pelo exame anterior, este estudo sugere uma forma de abordagem às tecnologias da tradução na universidade que contribua para valorizar a universidade, reduzir o afastamento percebido entre ensino universitário e prática da tradução e destacar as pesquisas acadêmicas da tradução como protagonistas no âmbito das Humanidades Digitais. / [en] This work follows the contemporary discussions on how to approach the translation technologies in the education of professional translators. This study starts with an analysis of a perceived distance between university education and professional practice in the strict framework of translators training and education, and then investigates the role that current approaches to translation technology play in that scenario. Therefore, as a theoretical and methodological basis, this work uses postulates from Translation Studies on the object of their descriptive and applied branches, and from the translation pedagogy studies on translational competences, to propose a mode of inserting technology in the translator education process. Then, the translation technologies are included in the modern context of Science and Technology Studies in their descriptive aspects - notably the Science, Technology and Society (STS) studies, and the Actor-Network Theory (ANT) approach - in order to check expectations on translation processes and results associated with the intensive presence of translation technologies. Finally, based on the interrelations found during investigations, this study suggests an approach to translation technology at the university that would contribute to distinguish the university, reduce the distance perceived between university education and translation practice, and highlight the academic translation research as protagonist within the Digital Humanities studies.