O tema da presente dissertação é a noção de Equivalência (Äquivalenz) de Werner Koller. Frequentemente atrelado às abordagens linguísticas à tradução, que, na segunda metade do século XX, buscaram conferir à pesquisa em tradução o estatuto de ciência, o conceito de equivalência foi alçado à condição de princípio teórico que garantiria a objetividade exigida das disciplinas que aspirassem à cientificidade. Para isso, porém, adotouse uma concepção abstrata e artificial de equivalência, que relegava o tradutor ao lugar de mero reprodutor de conteúdos pré-fixados pelo autor do original. Com o surgimento de novas vertentes de pesquisa no âmbito dos estudos de tradução, tais pressupostos foram postos em xeque, o que levou ao descarte e à estigmatização dessa noção. Se tomarmos por base a oposição elucidada por Kopetzki (1996), tal virada nos estudos de tradução pode ser interpretada como um movimento de concepções universalistas para concepções relativistas de língua e tradução, que rejeitam a ideia de tradução como transporte de significados imobilizados a priori. Diante disso, o objetivo desta pesquisa é demonstrar que a Equivalência de Koller não está calcada no universalismo que serve de base a outros modelos de equivalência tradutória, e que a noção defendida pelo autor tem validade prática, na medida em que funciona como um conceito operacional para tradutores profissionais e estudiosos da tradução. O presente trabalho se divide em duas grandes partes: a primeira é de caráter teórico e se destina à apresentação e à análise de trechos selecionados da obra de Koller, ainda inédita em português, a fim de evidenciar o caráter antiuniversalista de seus pressupostos; na segunda parte, mais voltada à prática, proponho uma maneira de aplicar seu conceito de Equivalência a um par de textos empíricos. O corpus que serve de base ao exemplo de aplicação é composto das ocorrências de cores presentes no romance Buddenbrooks: Verfall einer Familie (1909), de Thomas Mann, e na sua tradução para o português, de autoria de Herbert Caro e publicada no Brasil sob o título Os Buddenbrook: decadência duma família (1942). / The topic of this dissertation is Werner Kollers notion of equivalence (Äquivalenz). Often associated with the linguistic approaches to translation, which, in the second half of the 20th century, sought to make a scientific discipline out of the subject, equivalence turned into the one theoretical principle that would presumably guarantee the objectivity expected of any aspiring science. The consequence, however, was an abstract and artificial concept of equivalence, which portrayed translators as mere reproducers of contents that had been predetermined by the original author. With the advent of new research branches in the field of Translation Studies, such assumptions were called into question, which led to the discard and stigmatization of the concept. Bearing in mind the opposition brought to light by Kopetzki (1996), such a turn in Translation Studies may be interpreted as a move away from universalistic conceptions and a step towards relativistic conceptions of language and translation, which reject the idea of translation as the transport of pre-existing meanings. In view of that, the aim of this research is to demonstrate that Kollers Äquivalenz is not based upon the universalism that characterizes other theoretical frameworks to translation equivalence and can therefore be considered of practical relevance, inasmuch as it functions as an operational concept to professional translators and translation scholars. The present dissertation is divided in two main parts: the first part is of theoretical nature and is dedicated to the presentation and analysis of selected passages from Kollers work, still unedited in Portuguese, in order to demonstrate the antiuniversalistic character of his premises; in the second, more practice-oriented part, I propose a way of applying his concept of Equivalence to a pair of empirical texts. The corpus upon which this application example is based consists of instances of colour names found in the novel Buddenbrooks: Verfall einer Familie (1909), by Thomas Mann, and its translation to Portuguese, written by Herbert Caro and published in Brazil under the title Os Buddenbrook: decadência duma família (1942).

O tema da presente dissertação é a noção de Equivalência (Äquivalenz) de Werner Koller. Frequentemente atrelado às abordagens linguísticas à tradução, que, na segunda metade do século XX, buscaram conferir à pesquisa em tradução o estatuto de ciência, o conceito de equivalência foi alçado à condição de princípio teórico que garantiria a objetividade exigida das disciplinas que aspirassem à cientificidade. Para isso, porém, adotouse uma concepção abstrata e artificial de equivalência, que relegava o tradutor ao lugar de mero reprodutor de conteúdos pré-fixados pelo autor do original. Com o surgimento de novas vertentes de pesquisa no âmbito dos estudos de tradução, tais pressupostos foram postos em xeque, o que levou ao descarte e à estigmatização dessa noção. Se tomarmos por base a oposição elucidada por Kopetzki (1996), tal virada nos estudos de tradução pode ser interpretada como um movimento de concepções universalistas para concepções relativistas de língua e tradução, que rejeitam a ideia de tradução como transporte de significados imobilizados a priori. Diante disso, o objetivo desta pesquisa é demonstrar que a Equivalência de Koller não está calcada no universalismo que serve de base a outros modelos de equivalência tradutória, e que a noção defendida pelo autor tem validade prática, na medida em que funciona como um conceito operacional para tradutores profissionais e estudiosos da tradução. O presente trabalho se divide em duas grandes partes: a primeira é de caráter teórico e se destina à apresentação e à análise de trechos selecionados da obra de Koller, ainda inédita em português, a fim de evidenciar o caráter antiuniversalista de seus pressupostos; na segunda parte, mais voltada à prática, proponho uma maneira de aplicar seu conceito de Equivalência a um par de textos empíricos. O corpus que serve de base ao exemplo de aplicação é composto das ocorrências de cores presentes no romance Buddenbrooks: Verfall einer Familie (1909), de Thomas Mann, e na sua tradução para o português, de autoria de Herbert Caro e publicada no Brasil sob o título Os Buddenbrook: decadência duma família (1942). / The topic of this dissertation is Werner Kollers notion of equivalence (Äquivalenz). Often associated with the linguistic approaches to translation, which, in the second half of the 20th century, sought to make a scientific discipline out of the subject, equivalence turned into the one theoretical principle that would presumably guarantee the objectivity expected of any aspiring science. The consequence, however, was an abstract and artificial concept of equivalence, which portrayed translators as mere reproducers of contents that had been predetermined by the original author. With the advent of new research branches in the field of Translation Studies, such assumptions were called into question, which led to the discard and stigmatization of the concept. Bearing in mind the opposition brought to light by Kopetzki (1996), such a turn in Translation Studies may be interpreted as a move away from universalistic conceptions and a step towards relativistic conceptions of language and translation, which reject the idea of translation as the transport of pre-existing meanings. In view of that, the aim of this research is to demonstrate that Kollers Äquivalenz is not based upon the universalism that characterizes other theoretical frameworks to translation equivalence and can therefore be considered of practical relevance, inasmuch as it functions as an operational concept to professional translators and translation scholars. The present dissertation is divided in two main parts: the first part is of theoretical nature and is dedicated to the presentation and analysis of selected passages from Kollers work, still unedited in Portuguese, in order to demonstrate the antiuniversalistic character of his premises; in the second, more practice-oriented part, I propose a way of applying his concept of Equivalence to a pair of empirical texts. The corpus upon which this application example is based consists of instances of colour names found in the novel Buddenbrooks: Verfall einer Familie (1909), by Thomas Mann, and its translation to Portuguese, written by Herbert Caro and published in Brazil under the title Os Buddenbrook: decadência duma família (1942).

We examine the task of feature selection, which is a method of forming simplified descriptions of complex data for use in probabilistic classifiers. Feature selection typically requires a numerical measure or metric of the desirability of a given set of features. The thesis considers a number of existing metrics, with particular attention to those based on entropy and other quantities derived from information theory. A useful new perspective on feature selection is provided by the concepts of partitioning and encoding of data by a feature set. The ideas of partitioning and encoding, together with the theoretical shortcomings of existing metrics, motivate a new class of feature selection metrics based on conditional entropy. The simplest of the new metrics is referred to as expected partition entropy or EPE. Performances of the new and existing metrics are compared by experiments with a simplified form of part-of-speech tagging and with classification of Reuters news stories by topic. In order to conduct the experiments, a new class of accelerated feature selection search algorithms is introduced; a member of this class is found to provide significantly increased speed with minimal loss in performance, as measured by feature selection metrics and accuracy on test data. The comparative performance of existing metrics is also analysed, giving rise to a new general conjecture regarding the wrapper class of metrics. Each wrapper is inherently tied to a specific type of classifier. The experimental results support the idea that a wrapper selects feature sets which perform well in conjunction with its own particular classifier, but this good performance cannot be expected to carry over to other types of model. The new metrics introduced in this thesis prove to have substantial advantages over a representative selection of other feature selection mechanisms: Mutual information, frequency-based cutoff, the Koller-Sahami information loss measure, and two different types of wrapper method. Feature selection using the new metrics easily outperforms other filter-based methods such as mutual information; additionally, our approach attains comparable performance to a wrapper method, but at a fraction of the computational expense. Finally, members of the new class of metrics succeed in a case where the Koller-Sahami metric fails to provide a meaningful criterion for feature selection.

The aim of this thesis is to define the audit in general and to define its meaning and essence. Documents obtained from the company demonstrated the method of implementation of internal audit. On the basis of these documents, the internal audit results for the years 2013 and 2014 were evaluated by individual departments and by the overall results. Based on the findings, the company was recommended the establishment of an internal audit of the accounting. Questionnaires were sent to a sample of companies in the South Bohemia. The questionnaire investigated whether the company has established an internal audit, how often they perform it, which person performs an internal audit, on what action the internal audit is focused and whether the employees are motivated to improve their work.

Die Arbeit prüft, inwieweit die Übersetzungstheorien von Otto Kade et al., Werner Koller und die Skopostheorie das Problem der kulturgebundenen Farbwortvielfalt bei der Übersetzung zu lösen versuchen. Im ersten Teil wird hierfür der Grundstein gelegt, indem interdisziplinäres Wissen auf die Bildung von Farbbezeichnungen, ihrer Herkunft und ihrer biologischen und physikalischen Grundsätze angewendet wird. In diesem Zusammenhang wird auch die Sapir-Whorf-Hypothese diskutiert. Die Etymologie bestehender Farbbezeichnungen verschiedenster Sprachen bildet dabei das Zentrum, sowohl für die Erklärung der Farbwahrnehmung und die Kulturgebundenheit ihrer Bezeichnungen als auch der Neuschöpfung von Farbbezeichnungen in den Übersetzungssituationen. Anhand fiktiver Übersetzungssituationen aus dem Alltag wird der Übersetzungsprozess für jede Übersetzungstheorie simuliert und aus ihrer Sicht verfolgt. Im Abschluss werden die Ergebnisse gegenübergestellt und diskutiert.

Die Arbeit prüft, inwieweit die Übersetzungstheorien von Otto Kade et al., Werner Koller und die Skopostheorie das Problem der kulturgebundenen Farbwortvielfalt bei der Übersetzung zu lösen versuchen. Im ersten Teil wird hierfür der Grundstein gelegt, indem interdisziplinäres Wissen auf die Bildung von Farbbezeichnungen, ihrer Herkunft und ihrer biologischen und physikalischen Grundsätze angewendet wird. In diesem Zusammenhang wird auch die Sapir-Whorf-Hypothese diskutiert. Die Etymologie bestehender Farbbezeichnungen verschiedenster Sprachen bildet dabei das Zentrum, sowohl für die Erklärung der Farbwahrnehmung und die Kulturgebundenheit ihrer Bezeichnungen als auch der Neuschöpfung von Farbbezeichnungen in den Übersetzungssituationen. Anhand fiktiver Übersetzungssituationen aus dem Alltag wird der Übersetzungsprozess für jede Übersetzungstheorie simuliert und aus ihrer Sicht verfolgt. Im Abschluss werden die Ergebnisse gegenübergestellt und diskutiert.:Inhaltsverzeichnis I Abkürzungsverzeichnis 4 1 Einleitung 5 2 Farben: Wahrnehmung und Benennung 8 2.1 Sinnesorgane . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 8 2.2 Auge und „Farbensehen“ . . . . . . . . . . . . . . . . . . . . . . . . . . 12 2.2.1 Warum Farbe . . . . . . . . . . . . . . . . . . . . . . . . . . . . 13 2.2.2 Farbwahrnehmung . . . . . . . . . . . . . . . . . . . . . . . . . 14 2.2.3 Farbwahrnehmung versus Sprache und Denken . . . . . . . . . . 19 2.3 Farbe und Kultur . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 27 2.3.1 Grundfarbwörter – Berlin und Kay . . . . . . . . . . . . . . . . 30 2.3.2 Etymologie der Grundfarbbezeichnungen . . . . . . . . . . . . . 35 2.3.3 Farbbezeichnungen als Metonymie . . . . . . . . . . . . . . . . . 45 2.3.4 Grundfarbwörter diachron betrachtet . . . . . . . . . . . . . . . 46 2.4 Zusammenfassung . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 49 3 Zur Übersetzung von Grundfarbwörtern 51 3.1 Einordnung und Begriffsklärung . . . . . . . . . . . . . . . . . . . . . . 55 3.1.1 Übersetzbarkeit, Übersetzungsschwierigkeit oder Übersetzungsproblem? . . . . . . . . . . . . . . . . . . . . . . . 55 3.1.2 Übersetzungssituationen . . . . . . . . . . . . . . . . . . . . . . 57 3.1.3 Übersetzungseinheit . . . . . . . . . . . . . . . . . . . . . . . . 60 3.1.4 Zwei Übersetzungsfälle . . . . . . . . . . . . . . . . . . . . . . . 61 3.2 Leipziger Schule . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 62 3.3 Äquivalenzkonzept nach Werner Koller . . . . . . . . . . . . . . . . . . 74 3.4 Skopostheorie . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . 86 3.5 Vergleich und Diskussion . . . . . . . . . . . . . . . . . . . . . . . . . . 94 4 Schluss 98 5 Literaturverzeichnis 100 A Abbildungen 106

(in English) This dissertation paper deals with the transformation of the relationship letter and image in the Czechsoslovakian art in the 1950s and 1960s, interpreted from the point of view of the cultural and social events not as the history of art, but history of reality representation. The objective of the paper is to create a more complex view of various levels of integration of letter and image in domestic environment, so it approaches the phenomena of letter and image from a specific interpretation point of view based on three main lines. Mapping the phenomena of letter and image in the context of that period in Czechoslovakia, which preceded work structuralizing, was the base of the first interpretation line which bases the core of work on four social "activators", which, in the mind of an artist, activated the need to incarnate letter and image. Since the subject of the paper is the letter as a material manifestation of the language, the second interpretations line follows the purposeful modification of the language structure between the signifiant and signifié, which occurs in visual imaging. The third interpretation line puts the first two into a broader, aesthetic and philosophical context due to which, more complex language structures entering the art of work can be identified. Using...