<p>This study deals with difficulties of different nature encountered in the process of translating a tourist booklet on Dover Castle, published by English Heritage. The study focuses on grammatical aspects as the translation of the passive and attributive adjectives, and lexical aspects as the translation of terminology and cultural words and expressions. The analysis is based on Peter Newmark's translation theory and translation strategies. Passives and adjectives have been divided into groups based on the translation models and strategies used, and the focus is on changes in the grammatical structure. Most passives were rendered as passives in Swedish by the use of s-passives, which involves a change in the grammatical structure. Most adjectives in the source text were translated by the use of a corresponding adjective in the target language, with no change in the grammatical structure. However, some adjectives were translated using for example a prepositional phrase or a compound noun.</p><p>The analysis on terminology and cultural aspects focuses on what translation strategies have been used and problems that may occur concerning such aspects. Most source language terms were translated by the use of corresponding target language terms found in dictionaries or parallel texts. Some of the terms were transferred into the target text in their source text form, with an added explanation.</p><p>The cultural aspects consisted mainly of names, which were dealt with in different ways. Some were transferred using the source language form, and in some cases conventionalised Swedish forms were used. The main aim of the translation has been to render the text as natural as possible in Swedish, and the main aim of the analysis has been to discuss certain aspects of difficulty that occurred in the translation process.</p>

<p>The purpose of this study was to translate a number of selected pages from the book Horses Talking by Margrit Coates into Swedish. An analysis of the source text and the translation was carried out with the focus on three aspects: hedging, adjectives and non-finite ing-participles. The subject of the translated text lies within the broad field of animal behaviour, parapsychology and telepathy, and focuses exclusively on communication between humans and horses. Given the nature of the text, which contains cautious advice and qualified recommendations to the reader, hedging has an important function to fill. Furthermore, there are many adjectives, which give the text a certain character, and they are essential to the message of the book: how to create a good relationship between humans and horses. Theories within the translation shift approach were applied to the study. In particular, Catford’s model and terminology were looked at. Hedging at word and phrase level primarily proved to be realised by the use of modal auxiliary verbs as hedges in the source text; this application was also primarily transferred into the target text. The most common translation strategy used was literal translation. A compound noun or noun (class shift) and a prepositional phrase (unit shift) were the most common translation methods for the attributive adjectives in the analysis. The predicative adjectives were primarily translated with a verb (class shift) or a verb phrase (unit shift) and with a prepositional phrase (unit shift). For the non-finite ing-participles, a variety of methods were applied, among which the most important were the att-infinitive (grammatical shift) and a relative clause (unit shift).</p>

This thesis explores the properties of adjectives and adverbs in Inuit (Eskimo-Aleut), with focus on the Inuktitut dialect group. While the literature on Eskimoan languages has claimed that they lack these categories, I present syntactic evidence for two classes of adjectives, one verb-like and another strictly attributive, as well as a class of adverbs. These categories are then employed to diagnose more general properties of the language including headedness, word-formation, adjunct licensing, and semantic composition. In the first half of Chapter 2 I demonstrate that verb-like adjectives can be differentiated from verbs insofar as only the former are compatible with a particular copular construction involving modals. Similarly, verb-like adjectives can combine with a negative marker that is incompatible with genuine verbs. This contrast is further corroborated by an inflectional distinction between verb-like adjectives and verbs in the Siglitun dialect. A second class of strictly-attributive adjectives is argued for on the basis of stacking, variable order, optionality, and compositionality. The second half of the chapter examines semantic restrictions on membership in the strictly-attributive class whereby only adjectives with subsective and privative denotations are attested. These restrictions are explained by the proposal that Inuit lacks a rule of Predicate Modification, with the result that only adjectives with semantic types capable of composing with nouns via Functional Application can compose directly with nominals. Furthermore, to explain why this restriction does not extend to verb-like adjectives it is proposed that when these modify nominals, they are adjoined DP appositives and compose via Potts’s (2005) rule of Conventional Implicature Application. In Chapter 3 I argue for a class of adverbs, presenting evidence including degree modification, variable ordering, speaker-oriented meanings, and the ability to modify additional categories. Finally, data from adverb ordering is used to compare syntactically oriented and semantically oriented approaches to adjunct licensing and verbal-complex formation. I present arguments in favour of a right-headed analysis of Inuit in which the relative position of adverbs inside polysynthetic verbal-complexes is primarily determined by semantics, supporting Ernst (2002), contra cartographic approaches such as Cinque (1999).

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A presente pesquisa tem por objetivo a análise dos adjetivos em funcionamento no gênero crítica de cinema. Por meio dos pressupostos teóricos da Linguística Sistêmico-Funcional, argumentamos que a gramática deve ser estudada em conjunto com textos. Argumentamos ainda que os adjetivos têm importante papel na expressão de significados interpessoais, especialmente na expressão de avaliações, dados os contextos de situação em que estão inseridas as críticas de cinema. A partir de uma revisão crítica do conceito de adjetivo presente nas gramáticas tradicionais e nos trabalhos de orientação semântico-discursiva, e apoiando-nos em classificação de Moura Neves (2011), identificamos uma ocorrência diferenciada de tipos de adjetivos (qualificadores e classificadores) em movimentos retóricos distintos da crítica de cinema e argumentamos pelo seu papel na construção de posicionamentos em interações comunicativas. Nosso corpus é composto por críticas de cinema publicadas em dois veículos distintos - jornal de grande circulação e revista eletrônica especializada. Sendo assim, além de um estudo dos adjetivos no discurso, elaboramos um material de referência do gênero crítica de cinema a partir das noções de a) variáveis do contexto de situação (campo, relações e modo); b) estrutura potencial de gênero (Hasan, 1989), relevantes para a linha teórica que escolhemos / This research aims at analysing the use of adjectives in film reviews. Drawing on the principles of hallidayan Systemic Functional Linguistics, we argue that grammar should be studied together with texts. We also argue that adjectives have an important role to play in the expression of interpersonal meanings, particularly in the expression of evaluation, given the context of situation of the film reviews. Taking as a point of departure a critical review of the concept of adjectives in traditional grammars, we review their treatment in semantic-discursive approaches, and adopt Moura Nevess classification of adjectives into types (2011). This enabled us to identify correlations between adjective types and distinct rhetorical movements in film reviews. We have also dealt with the role of adjectives in the construction of positioning in text. Our corpus is made of film reviews published in two different media - major newspapers and specialized electronic magazines. Thus, besides a study of adjectives in use, our research can also be seen as reference material for the study of film reviews, drawing on the notions of context of situation (field, tenor and mode), and of Generic Structure Potential (Hasan, 1989)

A presente pesquisa tem por objetivo a análise dos adjetivos em funcionamento no gênero crítica de cinema. Por meio dos pressupostos teóricos da Linguística Sistêmico-Funcional, argumentamos que a gramática deve ser estudada em conjunto com textos. Argumentamos ainda que os adjetivos têm importante papel na expressão de significados interpessoais, especialmente na expressão de avaliações, dados os contextos de situação em que estão inseridas as críticas de cinema. A partir de uma revisão crítica do conceito de adjetivo presente nas gramáticas tradicionais e nos trabalhos de orientação semântico-discursiva, e apoiando-nos em classificação de Moura Neves (2011), identificamos uma ocorrência diferenciada de tipos de adjetivos (qualificadores e classificadores) em movimentos retóricos distintos da crítica de cinema e argumentamos pelo seu papel na construção de posicionamentos em interações comunicativas. Nosso corpus é composto por críticas de cinema publicadas em dois veículos distintos - jornal de grande circulação e revista eletrônica especializada. Sendo assim, além de um estudo dos adjetivos no discurso, elaboramos um material de referência do gênero crítica de cinema a partir das noções de a) variáveis do contexto de situação (campo, relações e modo); b) estrutura potencial de gênero (Hasan, 1989), relevantes para a linha teórica que escolhemos / This research aims at analysing the use of adjectives in film reviews. Drawing on the principles of hallidayan Systemic Functional Linguistics, we argue that grammar should be studied together with texts. We also argue that adjectives have an important role to play in the expression of interpersonal meanings, particularly in the expression of evaluation, given the context of situation of the film reviews. Taking as a point of departure a critical review of the concept of adjectives in traditional grammars, we review their treatment in semantic-discursive approaches, and adopt Moura Nevess classification of adjectives into types (2011). This enabled us to identify correlations between adjective types and distinct rhetorical movements in film reviews. We have also dealt with the role of adjectives in the construction of positioning in text. Our corpus is made of film reviews published in two different media - major newspapers and specialized electronic magazines. Thus, besides a study of adjectives in use, our research can also be seen as reference material for the study of film reviews, drawing on the notions of context of situation (field, tenor and mode), and of Generic Structure Potential (Hasan, 1989)

Topic of this dissertation are compound adjective, their development and usage during two historical periods. Compounding is on the edge of czech word-formation methods. This method of creating new lexical units has spread the most during Czech National Revival as one way of expanding czech lexicon. Authors used mostly semantic fullness, economy of expression and uncommonness of compounds in both specialized and artistical texts and in both prosaical and poetical texts. Compounding already started to evolve more in Baroque period, compounds were used for their communicative value and unusualness. Basic classification is adopted from monograph Česká kompozita diachronně by Dušan Šlosar (1999), secondarily from monograph Tvoření slov skládáním by Ivana Bozděchová (1994). The aim of the work is to capture development of structures used in adjective compounds formation during these two periods, also to examine their occurences, functions and types, how they developed and changed during the periods of Baroque and Czech National Revival. The work contributes to analytical examination of the historical development of word-formation level of czech language, specifically of the method of compounding.

The purpose of this study was to see how often, and to what extent, students in upper secondary school use adjectives and adverbs in their school writing. Additionally, a comparison was made between girls and boys. 40 texts were used in total, and 20 of them were written by girls and 20 written by boys. I counted the adjectives and adverbs in the texts and took notes of what kind of adjectives and adverbs were used as well as how often each of them were used. In this study, I found that girls outperform boys in both total number, of both adjectives and adverbs, as well as in variety. Furthermore, I found that students use far more adjectives than they do adverbs in their school writing.

The purpose with this essay is to investigate how Ernest Hemingway uses his style of writing in his short stories “A Clean, Well-Lighted Place” and “Hills Like White Elephants”. The questions at issue are: What is characteristic of Hemingway's style when looking at the use of adjectives and sentence complexity? How is the Iceberg Technique used? What stylistic differences and similarities are there between the stories? In my investigation I used a stylistic approach, in which adjectives are counted and sentence length is measured (creating mainly a quantitative analysis). The frequency of adjectives is calculated and compared against the norm in imaginative prose. Sentence length is compared against the norm for modern English. Previous research has provided a foundation for further analysis of the Iceberg Technique. The analysis shows that the frequency of adjectives is very low compared with the norm and that many adjectives are used repeatedly. The sentences are very short, not even reaching half the length of the norm presented. Hemingway’s Iceberg Technique shows in the scarce use of dialogue tags and a plot that does not reveal much about the characters or the setting. The real plot is often hidden, leaving it to the reader to interpret and “feel” what the story is really about. In conclusion: it may be said that both short stories are told in a minimalistic style, using only what is necessary to tell the story. They have a simple plot and simple characters, just like the Hemingway style we know.

This study deals with difficulties of different nature encountered in the process of translating a tourist booklet on Dover Castle, published by English Heritage. The study focuses on grammatical aspects as the translation of the passive and attributive adjectives, and lexical aspects as the translation of terminology and cultural words and expressions. The analysis is based on Peter Newmark's translation theory and translation strategies. Passives and adjectives have been divided into groups based on the translation models and strategies used, and the focus is on changes in the grammatical structure. Most passives were rendered as passives in Swedish by the use of s-passives, which involves a change in the grammatical structure. Most adjectives in the source text were translated by the use of a corresponding adjective in the target language, with no change in the grammatical structure. However, some adjectives were translated using for example a prepositional phrase or a compound noun. The analysis on terminology and cultural aspects focuses on what translation strategies have been used and problems that may occur concerning such aspects. Most source language terms were translated by the use of corresponding target language terms found in dictionaries or parallel texts. Some of the terms were transferred into the target text in their source text form, with an added explanation. The cultural aspects consisted mainly of names, which were dealt with in different ways. Some were transferred using the source language form, and in some cases conventionalised Swedish forms were used. The main aim of the translation has been to render the text as natural as possible in Swedish, and the main aim of the analysis has been to discuss certain aspects of difficulty that occurred in the translation process.