The main argument of this thesis is that the rewriters of the story of the Guantánamo Bay Detainee Library, namely journalists and filmmakers, engage differently with primary source material about the detention facility; what they omit and include in their narratives varies and depends largely on their pre-established ideologies. In the field of translation studies, this thesis contributes a new case study; it considers the problematic interplay between law, libraries, and multilingual information access in detention facilities. My research also demonstrates the challenges of examining a library that belongs to a highly controversial military system. In the first chapter I review previous studies of detainee libraries, and I introduce the concepts of rewriting, power, patronage, and ideology. In the second chapter I evaluate how reading material is unevenly distributed across nineteen language groups in the Guantánamo Bay Detainee Library. In the third chapter I reflect on the ways in which news articles written by civilian and military journalists about the Guantánamo Bay Detainee Library are rooted in disparate ideologies. In the fourth chapter I parse the story of the Guantánamo Bay Detainee Library as it is told through the fictitious lens of the film Camp X-Ray (2014). In the fifth and final chapter I summarize the logistical challenges of studying the Guantánamo Bay Detainee Library from afar and imagine what future might await its books.

Cette thèse examine le rapport stylistique et esthétique entre l'original et la traduction : l'écrivain et le traducteur écrivent chacun leur version de l'œuvre, l'une auctoriale, l'autre allographe. Le terme « auctorial » peut donc aussi s'appliquer au traducteur, auteur de la traduction et juridiquement reconnu comme tel. En partant du principe qu'à la lecture, un auteur peut s'identifier à son style d'écriture, il s'agit de montrer en quoi le traducteur a un style propre se démarquant de celui de l'auteur de l'original, en termes de créativité et de faits de style. Cela posé, il restera à déterminer dans quelle mesure l'un ou l'autre de ces deux auteurs, par son style, s'approprie l'œuvre, autrement dit, à qui revient l'autorité en ce qui concerne l'œuvre, en prenant en compte l'action des autres parties prenantes dans l'écriture, comme l'éditeur et même le lecteur : on verra ainsi que l'autorité est une variable. On peut dire que l'écrivain et le traducteur entreprennent une coopération, au sens étymologique, pour l'écriture de l'œuvre. Pour identifier le style d'un traducteur, on s'intéressera au style qu'un même écrivain développe dans différentes productions, et à celui qu'un même traducteur utilise dans différentes traductions. On essaiera d'en déduire quelle évolution stylistique a lieu d'une production à une autre, et d'une traduction à une autre. À la suite de ces analyses, on cherchera à en tirer des enseignements sur l'apprentissage du style en traduction, dans le cadre de la co-écriture de l'œuvre. Cela nous mènera à une réflexion sur la perception subjective de « fautes » de style dans la traduction et sur l'impossibilité d'une version « définitive » de l'œuvre. / This thesis is about style in translation and its implications for both authoriality and authority. It examines the stylistic and esthetic relationship between the original text and its translation: the writer and the translator write different versions of the literary work; one is authorial, the other is allographic, in the etymological sense of the term. The term "authorial" may actually also refer to the translator as the author of the translation, recognized as such by French copyright law. On the assumption that the reader will identify an author by their writing style, the goal is to show in what way the translator's own style sets off from the original author's in terms of creativity and stylistic features. Then we will aim to determine to what extent either of these two authors can stylistically claim the literary work; in other words, which of these two authors has the authority related to the literary work, taking into account those involved in the writing process, such as the editor or even the reader: we will see that the authority is a variable. The writer and the translator can be said to undertake cooperation for the writing of the literary work. In order to identify the style of the translator, the focus will be placed on the style a writer develops in various productions and on the style a translator uses in various translations. We will also try to infer what stylistic evolution takes place from one production to another and from one translation to another. Following those analyses we will seek ways to develop one's writing style in translation in the context of the co-writing of the literary work. This will lead us to reflect on the subjective perception of stylistic "flaws" in the translation and on the impossibility of a "definitive" version of the literary work.

Tercera reunión del grupo de lectura Queer AVT Club. Se discutió el artículo de Judith Butler: "Gender in Translation: Beyond Monolingualism". La introducción estuvo a cargo de María Pérez L. de Heredia de la Universidad del País Vasco.

Jorge Díaz Cintas (University College London) / En esta entrevista, el Dr. Jorge Díaz Cintas (University College London) habla acerca del impacto del streaming en la TAV, su nuevo libro sobre subtitulación y las aplicaciones de subtitulación en la nube.

It is the purpose of this thesis to show that literary interpretation and translation are closely interrelated, that the translator cannot pursue his goal, the transfer of a work of literature from one language into another, without interpreting that work as literature.

The goal of this thesis is to discuss Clarice Lispector in the Polish context and address the potential gaps in the reception of her oeuvre. Since the principal vehicle of popularizing her writing outside of the Portuguese-speaking world is translation, my thesis also examines the current situation of the Polish translations of Lispector’s work. Based on my research, I contend that the angle of interpretation related to Lispector’s literary awareness has not been well explored in Poland. Given that the perspective related to the creation process constitutes a recurrent characteristic of Lispector’s narrative, I provide a textual analysis of four short stories which specifically deal with this aspect of her writing: “O ovo e a galinha” [The Egg and the Chicken], “A quinta história” [The Fifth Story], “Seco estudo de cavalos” [Dry Sketch of Horses], and “O relatório da coisa” [Report on the Thing]. In order to address and promote this sphere of Lispector studies in Poland, I propose a translation of the above-mentioned four short stories, followed by a description of the challenges I have encountered as a translator of Lispector’s complex poetics. A survey of the most influential translation theories contextualizes both the suggested translations of Lispector’s stories and my own translation experience. With this project, I aim to reintroduce, revitalize, and rewrite – in the form of the presented textual analyses and the proposed translations – Clarice Lispector’s work in the Polish context.

Thesis (MPhil)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: The epic of Gilgamesh is the oldest recorded story known to humanity. It has a long and complex textual history. The final version of the epic, generally known as the standard version, was produced about 1200 B.C. in the Babylonian dialect of Akkadian by a priest and scribe named Sin-leqi-unninni. The cuneiform tablets upon which the epic was recorded, were rediscovered during the nineteenth century when European archaeologists started digging in the ancient cities of the Middle East, especially Nineveh. Since then the story has been translated into many languages; several English translations have been published. Some of these translations of the epic maintain epic poetic form, others are in prose, and there are a number of versions for children. At the moment no complete version exists in Afrikaans. This thesis presents a translation of parts from Geraldine McCaughrean's English children's version, which was published in 2002. McCaughrean adapts the structure of the standard version, clearly a strategy to make her text exciting for modern readers. The theoretical insights of André Lefevere and Lawrence Venuti form the paradigm for the translation process. Lefevere sees translation as one of a number of rewriting techniques. The detail of such a rewriting is determined by the poetics of the target culture, the patronage which enables such a translation to exist, and the ideological framework within which the rewriting develops. Venuti distinguishes between two translational approaches: a domesticating translation adapts the translation to the target culture and creates the impression with readers that they are reading an original text; foreignising translation makes the readers aware that they are reading a text from another culture. The opportunities and limitations of children's literature and translation for children are explored. Specific attention is given to taboo topics, as a number of these appears in the Gilgamesh Epic. The writers of the children's versions have solved these problems in different ingenious ways. Annotations shed light on the translational challenges and the decisions of the translator. Finally the whole project is evaluated and suggestions for further research are made. / AFRIKAANSE OPSOMMING: Die Gilgamesj-epos is die mensdom se oudste opgetekende verhaal. Dit het ‘n lang en komplekse ontstaansgeskiedenis. Die finale variant van die epos, wat algemeen bekend staan as die standaardweergawe, is ongeveer 1200 v.C. in Babiloniese Akkadies geskryf deur ‘n skriba-priester genaamd Sin-leqi-unninni. Die spykerskriftablette waarop dit opgeteken is, is gedurende die negentiende eeu herontdek tydens argeologiese opgrawings van die verwoeste antieke stede in die Midde-Ooste, veral Nineve. Sedertdien is die verhaal in verskeie tale vertaal; daar bestaan etlike vertalings in Engels. Hierdie vertalings van die epos word soms aangebied as epiese gedig, in ander gevalle in prosavorm, en daar bestaan ook ‘n paar verskillende weergawes vir kinders. Daar bestaan tans egter geen volledige weergawe in Afrikaans nie. Hierdie tesis bied ‘n vertaling van dele uit een van die Engelse kinderweergawes, dié van Geraldine McCaughrean, wat in 2002 verskyn het. McCaughrean pas die struktuur van die standaardweergawe aan, ‘n duidelike strategie om haar teks vir hedendaagse lesers opwindend te maak. Die teoretiese insigte van André Lefevere en Lawrence Venuti vorm die raamwerk vir die vertaalproses. Lefevere beskou vertaling as een van ‘n hele aantal tegnieke van herskrywing. Die besonderhede van so ‘n herskrywing word bepaal deur die poetika van die doelkultuur, die patronaat wat die herskrywing moontlik maak, en die ideologiese raamwerk waarbinne die herskrywing ontstaan. Venuti onderskei tussen twee vertaalbenaderings: ‘n domestikerende vertaling pas die vertaalde teks sterk aan by die doelkultuur sodat lesers van die vertaling onder die indruk gebring word dat hulle ‘n oorspronklike teks lees; en vervreemdende vertaling, waarin die lesers bewus is dat hulle ‘n teks uit ‘n ander kultuur lees. Die moontlikhede en beperkinge van kinderliteratuur en vertalings vir kinderlesers word ondersoek. Spesifieke aandag word geskenk aan taboe-onderwerpe, waarvan ‘n hele paar in die Gilgamesj-epos voorkom, en hoe die skeppers van die kinderweergawes hierdie probleme opgelos het. Annotasies belig die vertaaluitdagings en die vertaler se keuses. Ten slotte word die projek as geheel geëvalueer en voorstelle vir verdere navorsing verskaf.

Thesis (MPhil)–Stellenbosch University, 2014. / ENGLISH ABSTRACT: A suitable South African literary text is translated from English to Afrikaans to investigate the possibility of enriching the target culture, although literary translations from English have a limited readership in Afrikaans. The choice of Portrait with Keys by Ivan Vladislavić as source text is motivated in a discussion of its relevance to the target culture, and of its intrinsic literary merit. Enrichment of the target culture is defined within the context of the hermeneutic approach in translation studies. The interpretation of the source text and the role of the translator is emphasised, as seen in Steiner’s account of the hermeneutic motion and Venuti’s views on the visibility of the translator and cultural filtering. Lewis’s concept of abusive fidelity is considered, and ultimately Bandia’s proposed aim of achieving balance, or a middle course between foreignising and domesticating offers an attainable strategy. The annotation of the practical translation of a selection of texts from Portrait with Keys shows that a strategy of foreignisation, of rendering the characteristics of the source texts as closely as possible in the target text, is continually balanced by the translator with a strategy of domestication, in other words creating an idiomatic, accessible target text. / AFRIKAANSE OPSOMMING: ’n Geskikte Suid-Afrikaanse literêre teks word uit Engels in Afrikaans vertaal om die moontlikheid te ondersoek dat die doeltaal daardeur verryk kan word, hoewel literêre vertalings uit Engels ’n beperkte leserstal het. Die keuse van Portrait with Keys deur Ivan Vladislavić word gemotiveer deur ’n bespreking van die toepaslikheid daarvan binne die doelkultuur, en die intrinsieke literêre meriete van die teks. Die verryking van die doelkultuur word binne die konteks van die hermeneutiese benadering in vertaalstudies bespreek. Die interpretasie van die bronteks en die rol van die vertaler word voorop gestel, soos blyk uit Steiner se uiteensetting van die hermeneutiese handeling en Venuti se beskouings oor die sigbaarheid van die vertaler en kulturele filtering. Lewis se konsep van weerstandige getrouheid, abusive fidelity, word oorweeg en uiteindelik bied Bandia se klem op die bereiking van balans, of ’n middeweg tussen veruitheemsing, of foreignisation, en verinheemsing, of domestication, ’n uitvoerbare strategie. Die annotasie van die praktiese vertaling van ’n seleksie van tekste uit Portrait with Keys toon dat ’n strategie van veruitheemsing, deur die kenmerke van die bronteks so getrou moontlik in die doelteks weer te gee, deurgaans deur die vertaler opgeweeg word teen ’n strategie van verinheemsing, dit wil sê die daarstelling van ’n idiomatiese, toeganklike doelteks.

Thesis (MPhil)--Stellenbosch University, 2014. / ENGLISH ABSTRACT: The Chronicles of Narnia by C.S. Lewis is internationally considered as one of the classics of children’s literature. The series consists of seven books, of which only the first four were translated into Afrikaans, namely Die Towenaar se Neef (The Magician’s Nephew), Die Leeu, die Heks en die Hangkas (The Lion, the Witch and the Wardrobe), Die Perd en sy Seun (The Horse and his Boy) and Prins Kaspian (Prince Caspian). According to the publisher, Human & Rousseau, they have no intention to translate the remainder of the series. The three books that have not been translated into Afrikaans are The Voyage of the Dawn Treader, The Silver Chair and The Last Battle. The main aim of this study is the practical translation of a selection of The Voyage of the Dawn Treader. The Functionalist approach of Vermeer and Nord, Toury and Chesterman’s translation norms from Descriptive Translation Studies, Venuti’s foreignisation and domestication and Klingberg’s cultural contex adaptation form the theoretical framework for both the discussion and analysis of the source text as well as the translation. The four types of translation problems as identified by Nord are used as the framework for the annotations of the translation. By doing a theoretically based translation, the connection between theory and practice is illustrated: the translator chooses a general approach and translation strategies and is consequently guided to make consistent translation choices on macro as well as micro levels. / AFRIKAANSE OPSOMMING: C.S. Lewis se Chronicles of Narnia beklee internasionaal ’n gevestigde plek in die kanon van kinder- en jeugliteratuur. Die reeks bestaan uit sewe boeke, waarvan slegs die eerste vier in Afrikaans vertaal is, naamlik Die Towenaar se Neef, Die Leeu, die Heks en die Hangkas, Die Perd en sy Seun en Prins Kaspian. Volgens die uitgewer, Human & Rousseau, word daar nie verdere vertalings van die reeks beoog nie. Die drie onvertaalde boeke in die reeks is The Voyage of the Dawn Treader, The Silver Chair en The Last Battle. Hierdie studie fokus hoofsaaklik op die praktiese vertaling van ’n gedeelte van The Voyage of the Dawn Treader. Vermeer en Nord se Funksionalisme, Toury en Chesterman se vertaalnorme uit Deskriptiewe Vertaalstudies, Venuti se vervreemding en domestikering en Klingberg se kulturele konteksaanpassing dien as teoretiese raamwerk vir sowel die bespreking en ontleding van die bronteks as die vertaling. Nord se vier tipes vertaalprobleme dien as raamwerk vir die annotasies tot die vertaling. Deur ’n teoreties gebaseerde vertaling te doen word geïllustreer hoe teorie en praktyk by mekaar aansluit: die vertaler kies ’n algemene benadering en vertaalstrategieë, en word sodoende begelei tot konsekwente vertaalbesluite op makro- en mikrovlak.

For English-language audiences, twentieth-century French literature is often identified with a variety of literary movements tied to the political left. In spite of its lesser visibility, the French literary right enjoyed considerable prestige during the first half of the twentieth century. This thesis employs methodologies from translation studies in order to study how the French literary right has been translated, or not translated, into English. Case studies devoted to three seminal writers of the right, including Charles Maurras (1868-1952), Pierre Drieu la Rochelle (1893-1945), and Roger Nimier (1925-62), demonstrate that right-wing committed literature was a central mode of literary production from the 1910s to the 1950s and that this current of writing is underrepresented in English-language translation and scholarship. A number of literary and cultural asymmetries separating English-language literature from French literature have contributed to this situation, such as the phenomenon of literary engagement in French literature and France’s strong anti-liberal intellectual tradition. Using systems theory this thesis argues that these differences between the French and Anglophone literary systems have contributed to the lack of representation accorded to the French literary right, which is manifested in the selection, presentation, and translation of texts by right-wing authors such as Maurras, Drieu, and Nimier. When translations of texts by these authors do exist, a number of translation patterns emerge. These patterns and distortions have ramifications for the construction of literary canon and for our understanding of twentieth-century literary history and the role ideology plays in influencing high- and low-level translation decisions.