The aim of this Master Thesis is to present an annotated literary translation of two chapters of the novella Vstrecha from Maxim Osipov's book, Grech zhalovatsya. The first part of this Master Thesis contains a translation of selected chapters from the novella Vstrecha. The second part, a commentary on the translation, includes information about the author and his work, style classification, the role of translation, vocabulary, intertextuality, characterization of translation methods, strategy of solving translation problems and typology of translation shifts.

The aim of this Master Thesis is to provide the reader with an annotated literary translation of the book Palabras Envenenadas written by the Spanish author Maite Carranza. The first part of the thesis presents in total of 6 translated chapters of the novella Palabras Envenenadas. The second part focuses on presenting the information about the author and the style of the book as well as the role of the original and the translatated text in the source and target culture context, the development of the translation analysis and translation methods while discussing the translation problems and their solutions. Last but not least, the thesis should also offer the reader also a brief glimpse into a process of the birth of a translated literature. Powered by TCPDF (www.tcpdf.org)

The aim of this thesis is to present an annotated literary translation of two short stories (L'arbre Yama a Barsa, ou barsaq) from the collection Histoire du pied et autres fantaisies by French author and Nobel Prize for literature winner J. M. G. Le Clézio. The first part of this thesis contains a translation of the two short stories. The second part, a commentary on the translation, includes information about the choice of the text, the author and his work, main stylistic and thematic features of the two translated texts, a list of main translation problems and strategies to solve them, the choice of the translation method and conception, the reception of Le Clézio's work in Czech literary context and an analysis of a survey among Czech publishers.

Cette Thèse porte sur les échanges culturels entre la France et l’Italie, au début du XXIe siècle, dans le domaine de la traduction littéraire et de l’édition. Son but principal est l’étude des phases qui précèdent, accompagnent et suivent la publication d’une œuvre littéraire française en Italie. Après avoir situé notre sujet dans le cadre des relations historiquement très importantes entre les deux pays dans le domaine littéraire, notre analyse se focalise sur trois moments cruciaux : le choix de l’œuvre ; sa traduction ; sa parution et réception.C’est que le goût, le canon, la tradition littéraire et la culture propres à chacun des deux pays ont une influence certaine sur la réception, sur l’horizon d’attente des lecteurs et des critiques, ainsi que sur les stratégies éditoriales, tout au long des étapes qui vont de l’achat des droits aux décisions « paratextuelles » censées susciter l’intérêt du lecteur ou fournir des informations. Nous ne négligerons pas le rôle du traducteur, véritable « passeur » du texte, ses choix linguistiques et stylistiques étant souvent la clé de la bonne compréhension d’une œuvre. Si la publication et la fortune d’une œuvre littéraire dans un pays étranger sont donc le résultat d’un processus complexe, d’une accumulation stratifiée d’échanges, de stéréotypes, et de multiples interventions d’acteurs différents, notre recherche fait appel à des outils méthodologiques relevant de plusieurs champs disciplinaires, appliqués, enfin, à une sélection des romans publiés en Italie dans les dix dernières années. / This thesis focuses on the cultural exchanges between France and Italy in the fields of literary translation and publishing at the beginning of the 21st century. Its main goal is to study the various stages that precede, accompany and follow the publication of a work of French literature in Italy. Having placed our subject in the context of the main historical relations between the two countries in the field of literature, our analysis concentrates on three key moments: the choice of book, its translation and finally, its publication and reception.At the centre of our analysis is the knowledge that the tastes, canons, literary traditions and cultures of the two countries undoubtedly affect the reception of a work and the expectations of readers and critics. We will therefore take into consideration the role of editorial strategies throughout this process from the purchase of the copyright to paratextual decisions, i.e. the methods used to arouse readers’ interest or supply information. We will also examine the figure of the translator, the “driving force” in the text’s transition, as it is often their choice of language and style that provides the key to our understanding of it.Given that the publication and fortune of a literary work in a foreign country are the result of a complex process and a stratified accumulation of exchanges, stereotypes and multiple operations, our research has adopted analytical methods from a wide range of fields and applied them to a selection of novels published in Italy over the last ten years.

This bachelor thesis focuses on the Czech translations of four pieces of short prose by Gabriel García Márquez, an important Colombian writer, each by a different Czech translator. The initial theoretical part deals with the author's life, work and with how his works were received in the Czech territory. The second part focuses on stylistic analysis of the Spanish texts chosen for the purposes of this thesis. The results serve for a better commensurability of the methods of translation in the following chapter. That is also why special emphasis is put on those characteristics of the author's style, which repeat in more than one of the texts. The third and most important part of this thesis consists of translation analyses of the four Czech translations. The thesis will conclude with a comparison of the translation methods used in the Czech translations, focusing on their semantic accuracy, acceptability in the target language and their adequacy to the author's style as manifested in the original texts. Key words: Gabriel García Márquez, literary translation, translation analysis, Hana Posseltová, Vladimír Medek, Blanka Stárková, Lada Hazaiová

Submitted by Cláudia Bueno (claudiamoura18@gmail.com) on 2016-02-17T16:01:05Z No. of bitstreams: 2 Tese - Lílian Virgínia Pôrto - 2012.pdf: 3206249 bytes, checksum: 989d087e3eefaa57ed2030553fbffb37 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Approved for entry into archive by Luciana Ferreira (lucgeral@gmail.com) on 2016-02-22T12:30:45Z (GMT) No. of bitstreams: 2 Tese - Lílian Virgínia Pôrto - 2012.pdf: 3206249 bytes, checksum: 989d087e3eefaa57ed2030553fbffb37 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) / Made available in DSpace on 2016-02-22T12:30:45Z (GMT). No. of bitstreams: 2 Tese - Lílian Virgínia Pôrto - 2012.pdf: 3206249 bytes, checksum: 989d087e3eefaa57ed2030553fbffb37 (MD5) license_rdf: 23148 bytes, checksum: 9da0b6dfac957114c6a7714714b86306 (MD5) Previous issue date: 2012-10-01 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / L’objectif de ce travail est d’analyser les traits féministes de la traduction brésilienne des trois oeuvres de l’écrivaine québécoise Anne Hébert (1916-2000) : Kamouraska (1970), Les fous de Bassan (1982) et La cage (1990). Nous effectuerons une étude comparative entre les textes originaux et ses respectives traductions, réalisées par Leônidas Gontijo de Carvalho (A máscara da Inocência − 1972), Vera de Azambuja Harvey (Os gansos selvagens de Bassan − 1986), Núbia Hanciau (A gaiola de ferro − 2003). Nous proposons, d’après Antoine Berman (1995), une lecture textuelle et contextuelle de la traduction en partant de la prémisse que traduire ce n’est pas opérer un transfert de sens. Ainsi, la traduction sera conçue comme lecture, interprétation, réécriture et création, selon les théoriciens : Lefevere (2007), Simon (1994) et von Flotow (1997). Nous adopterons une perspective analytique plurielle, en ayant recours aux textes de spécialistes de l’oeuvre hébertienne, aux théoriciens des études de traduction, de la traduction féministe et des études de genre comme Rita Felski (1989), Sherry Simon (1996), Suzanne de Lotbinière-Harwood (1991), France Théoret (1987). Ainsi, partant de cette vision plurielle, nous chercherons à analyser comment la femme hébertienne lucide, forte, pleine de vitalité et quelques fois sans scrupules est représentée dans les traductions brésiliennes. Nous analyserons également, des personnages féminins, rares il faut le dire, qui n’arrivent pas à exprimer leur mécontentement face à l’oppression patriarcale. Pour ce faire, nous examinerons, dans le premier chapitre, la position qu’occupe Anne Hébert concernant les réflexions sur l’écriture au féminin dans le contexte canadien. Cette discussion nous mènera, inévitablement, à ce qu’on appelle traduction féministe et le rôle qui a joué Anne Hébert dans cette nouvelle pratique de traduction. Dans les chapitres suivants, nous analyserons les oeuvres qui constituent le corpus de ce travail, en dédiant un chapitre à chaque livre, dans lequel nous effectuerons une confrontation des fragments des textes originaux et leurs traductions vers le portugais, en mettant en relief différents thèmes qui permettent l’examen des traits féministes, en nous appuyant sur les modalités de traductions de Francis Aubert (1998). De ce fait, dans Kamouraska, nous explorerons la représentation de la maternité, ainsi que la présence de la sexualité et de la violence, nous considèrerons, surtout, les textes de Lori Saint-Martin (1999) et Elisabeth Grosz (2000). Dans Les fous de Bassan, nous identifierons différents types de résistance face aux pouvoirs patriarcaux − observés dans les personnages féminins de l’oeuvre − en ayant comme appui théorique principal les considérations de Michel Foucault sur le pouvoir et la résistance. Dans La cage, finalement, nous analyserons la lecture féministe de l’histoire de la Corriveau, populaire au Québec, à la lumière de contributions de Michel Pêcheux (1999), Lévi-Strauss (1967) et Maurice Halbwachs (2006), pour les questions liées au mythe et à la mémoire. Pour les questions féministes, nous aurons recours, entre autres, à Luce Irigaray (1981), à Simone de Beauvoir (2003), entre autres. / The aim of this study is to examine feminist traits in the Brazilian translation of the following works of Quebec writer Anne Hébert (1916-2000): Kamouraska (1970), Les fous de Bassan (1982) and La cage (1990). The original texts and their respective translations by Leonidas Gontijo de Carvalho (A mascara da Inocência – 1972), Vera de Azambuja Harvey (Os gansos selvagens de Bassan – 1986), Nubia Hanciau (A gaiola de ferro – 2003) are analyzed from a comparative perspective. A textual and contextual reading of the translation is proposed based upon the premise of Antoine Berman (1995) that translating is not the same as transferring meanings. In this sense, translation is considered as reading, interpretation, rewriting and creation, according to the theorists: Lefevere (2007), Simon (1994) and von Flotow (1997). This analytical perspective considers both critical texts of Hebertian work and theorists of translation studies − especially those of feminist trait and from gender studies, such as Rita Felski (1989), Sherry Simon (1996), Suzanne Lotbinière-Harwood (1991), France Theoret (1987). Face to these multiple points of view, we seek to demonstrate if the lucid, strong, full of vitality and sometimes unscrupulous Hebertian woman is represented as such in the Brazilian translations. In addition, we focus on those characters, it must be said rare, that are not able to express their dissatisfaction before the patriarchal oppression to which they are subjugated. To do so, the position that Anne Hébert holds within reflections on écriture au féminin in the Canadian context is discussed in the first chapter. We believe that such discussion leads inevitably to the so called feminist translation and to the role Hébert played in the introduction of this new practice of translation. In the following chapters, we bring our attention to the works that make up the corpus of this thesis. We have devoted a chapter for each one of the books in which fragments of the original texts and their translations into Portuguese are confronted. Such approach takes into account a diversity of themes that allow the analysis of feminist traits according to the translation modalities of Francis Aubert (1998). Therefore, in Kamouraska we explore the representation of motherhood and the presence of sexuality and violence, especially considering the texts of Lori Saint-Martin (1999) and Elisabeth Grosz (2000). In Les fous de Bassan different types of resistance against the patriarchal powers are identified in female characters in accordance to the thinking developed by Michel Foucault (1979) regarding power and resistance. Finally, in La cage, we analyze the feminist reading of the story of Corriveau, popular in Quebec, taking into account the contributions of Michel Pêcheux (1999), Levi-Strauss (1967) and Maurice Halbwachs (2006), with respect to issues related to myth and memory. For the feminist issues, on the other hand, we recur to Luce Irigaray (1981) and Simone de Beauvoir (2003), among others. / O objetivo deste trabalho é analisar os traços feministas na tradução brasileira das seguintes obras da escritora quebequense Anne Hébert (1916-2000): Kamouraska (1970), Les fous de Bassan (1982) e La cage (1990). Faremos um estudo comparativo entre os textos originais e suas respectivas traduções, realizadas por Leônidas Gontijo de Carvalho (A máscara da Inocência − 1972), Vera de Azambuja Harvey (Os gansos selvagens de Bassan − 1986), Núbia Hanciau (A gaiola de ferro − 2003). Será proposta, na esteira de Antoine Berman (1995), uma leitura textual e contextual da tradução, tendo como base a premissa de que traduzir não é o mesmo que transferir significados. Nesse sentido, a tradução será concebida como leitura, interpretação, reescrita e criação, conforme os teóricos: Lefevere (2007), Simon (1994) e von Flotow (1997). Adotaremos uma perspectiva analítica que englobará tanto os textos de críticos da obra hebertiana quanto os teóricos dos estudos da tradução − contemplando principalmente aqueles de vertente feminista e os estudos de gênero, tais como Rita Felski (1989), Sherry Simon (1996), Suzanne de Lotbinière-Harwood (1991), France Théoret (1987). Face a essa múltipla visão, buscaremos demonstrar se a mulher hebertiana lúcida, forte, cheia de vitalidade e às vezes inescrupulosa, é dessa forma representada pelas traduções brasileiras. Além disso, enfocaremos aquelas personagens, cumpre dizer raras, que não conseguem expressar o seu descontentamento diante da opressão patriarcal à qual são subjugadas. Para tanto, será discutida, no primeiro capítulo, a posição que Anne Hébert ocupa no âmbito das reflexões sobre a écriture au féminin no contexto canadense. Tal discussão, acredita-se, nos leva, inevitavelmente, à chamada tradução feminista e ao papel que Hébert desempenhou na introdução dessa nova prática de tradução. Nos capítulos seguintes, traremos à baila as obras que constituem o corpus da presente tese. Nesse caso, destinaremos um capítulo para cada um dos livros, de forma a cotejar fragmentos dos textos originais e suas traduções para o português. O enfoque a ser dado obedecerá a diferentes temas que possibilitam o exame de traços feministas, de modo a serem consideradas as modalidades tradutórias de Francis Aubert (1998). Assim, em Kamouraska, exploraremos a representação da maternidade, bem como a presença da sexualidade e da violência, considerando, sobretudo, os textos de Lori-Saint Martin (1999) e Elisabeth Grosz (2000). Em Les fous de Bassan, serão identificados diferentes tipos de resistência frente aos poderes patriarcais − observados nas personagens femininas da obra − conforme o pensamento desenvolvido por Michel Foucault (1979) a respeito de poder e resistência. Por fim, em La cage, analisaremos a leitura feminista da história da Corriveau, popular no Quebec, tendo em conta as contribuições de Michel Pêcheux (1999), Lévi-Strauss (1967) e Maurice Halbwachs (2006), no que concerne às questões relacionadas ao mito e à memória. Para as questões feministas, por sua vez, recorreremos a Luce Irigaray (1981) e Simone de Beauvoir (2003), entre outras.

The purpose of this thesis is to uncover the meaning of the difference between original versions and translations of two texts from Publius Ovidius Naso's Heroides, "Phyllis to Demophoon" and "Phaedra to Hippolytus." The first chapter describes John Dryden's system of translational practices and some theoretical issues surrounding literary translation and its critical interpretation. Even though translations have connections to the source text to some degree, each product of translation is a literary artifact on its own. The second chapter uses three translations of "Phyllis to Demophoon" by respectively Wye Saltonstall, Edward Pooley, and Edward Floyd as case studies demonstrating the variety of literary works that can originate from a single source text. The third chapter interprets Thomas Otway's translation of "Phaedra to Hippolytus" against Ovid's original in order to reveal the extensive presence of a certain characteristic irony in Otway's text. Otway also effectively translates Ovid's witty subtext.

In 2016, South Korean author Han Kang’s The Vegetarian, translated into English by Deborah Smith, was awarded the Man Booker International Prize. Following the success, South Korean critics brought to attention mistakes and inaccuracies of Deborah Smith’s work, heavily criticizing her translation, but also bringing the debate of liberal and literal translation from the academic sphere to the public eye. In Sweden, the book was translated from Deborah Smith’s English into Swedish by Eva Johansson and published under the title Vegetarianen in January 2017. This thesis uses a comparative qualitative method to investigate how Han’s novel is changed through the process of translation and indirect translation by the hands of Smith and Johansson, as well as if Smith’s translation changes through the process of working with the text. With Smith’s very liberal method of translation, her translation occasionally results in significant change of tone, atmosphere and characterization. Mistakes make it clear she did not have a sufficient comprehension of Korean, however she can be seen growing more comfortable with the language by the end of the novel. Johansson stays very loyal to Smith’s English translation due to Swedish and English being more similar languages in structure and literary tradition, she is also a very experienced translator. Despite Smith’s flawed translation, The Vegetarian has been a huge success. The author hopes that more research will be done in the areas of Korean-English translation and indirect translation from Korean, in order to further identify struggles of translators of Korean and advance Korean literature in translation. / 2016 prisades Sydkoreanska författaren Han Kangs The Vegetarian, översatt till engelska av Deborah Smith, med Man Booker International Prize. Följande succén bringade Sydkoreanska kritiker uppmärksamhet till misstag och oriktigheter i Deborah Smiths översättning och kritiserade den hårt, men tog också debatten om fri och exakt översättning till allmänhetens ögon. I Sverige översattes boken till svenska från Deborah Smiths engelska av Eva Johansson och släpptes under titelnVegetarianeni januari 2017. Denna uppsats använder en komparativ kvalitativ metod för att undersöka hur Hans novell förändrats under processen av direkt och indirekt översättning av Smith och Johansson, och om Smiths översättning förändrats under hennes arbete med novellen. Genom Smiths väldigt fria metod av översättning resulterar översättningen stundtals i utmärkande förändringar i ton, atmosfär och karaktärisering. Misstag gör det uppenbart att hon inte hade tillräckliga färdigheter i det koreanska språket, dock ses hon bli mer bekväm med språket i slutet av novellen. Johannson är väldigt lojal till Smiths engelska översättning då svenska och engelska är betydligt mer liknande språk i struktur och litterär tradition. Hon är också en väldigt erfaren översättare. Trots Smiths bristfällande översättning har The Vegetarianblivit en ringande succé. Författaren av denna uppsats hoppas att mer undersökning kommer att göras i området koreansk-engelsk översättning och indirekt översättning från koreanska för att ytterligare identifiera de problem som översättare av koreanska stöter på och för att avancera översatt koreansk litteratur.

1 Mgr. Alena Fry Dissertation Abstract Edgar Allan Poe in Czech Reception: Translation and Interpretation History The doctoral thesis investigates the history of Edgar Allan Poe's reception in Czech culture from the 1850s to the present. Its aim is to scrutinize how the author's image has been shaped and reshaped over the course of time by various book editions, interpretive approaches and key translations, and what socio-cultural, literary or individual factors contributed to these transformations. The thesis is intended to contribute to the understanding of the history of Czech literary translation and of Czech literature's intercultural affinities. Chapter 1 defines the research goal, presents the theoretical background and outlines the structure of the thesis. It reveals the inseparableness of Poe's image as the author and the man, i.e. the Poe "myth" that started developing during Poe's lifetime, and the necessity to also account for it when studying his Czech reception. Chapter 2 focuses on the period up to the early 1890s and examines the earliest interpretations. These were strongly influenced by R. W. Griswold's infamous "Memoir" and dwelt mainly on the circumstances of Poe's life. Furthermore, the chapter provides an overview of the first prose and poetry translations which were occasionally...

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