Inom fältet för översättningsstudier har det traditionellt varit ett angeläget forskningsområde att erhålla kunskap om hur man hanterat samma källtext i olika kulturella kontexter. På våren år 1950 utkom en spansk översättning av den finske författaren Mika Waltaris historiska roman, Sinuhe egyptiläinen (Sinuhe egyptiern), och senare samma år, i Mexiko, nyöversattes verket för Latinamerika som en respons på den första. Föreliggande uppsats är en fallstudie och har genomförts i syfte att undersöka på vilket sätt och varför detta originalverks två översättningar på samma språk skiljer sig åt. Översättningarna har jämförts parallellt med dess källtext och studerats kontrastivt genom en kombination av kvantitativ och kvalitativ analys med hjälp av shift som teoretiskt verktyg. Resultaten av denna fallstudie visar att översättningarna skiljer sig åt i vissa innehållsmässiga aspekter och att dessa skillnader med all sannolikhet härrör från de samhälleliga politiska kontexter där de producerats. Genom studien uppdagas även att det finns slående likheter mellan de två måltexterna, främst i form av strykningar men också vad gäller innehåll, vilket ger skäl att tro att den ena utgåvan använts som någon form av underlag för den andra. / Within the field of translation studies, it has traditionally been an important field of research to gain knowledge of how to deal with the same source text in different cultural contexts. In the spring of 1950 a Spanish translation of Mika Waltari's historical novel Sinuhe the Egyptian was published, and later that year, in Mexico, appeared a second version translated for the audience in Latin America as a response to the first. This paper is a case study and has undertaken to examine how and why these two translations in the same language differ. The translations have been compared in parallel with its source text and studied contrastively by a combination of quantitative and qualitative analysis using the shift as a theoretical tool. The results of this case study show that the translations differ in certain aspects of the level of content and that these differences in all probability arose from the social- political contexts in which the texts were produced. The study reveals also that there are striking similarities between these two target texts, mainly in form of deletions but also in terms of content, giving reason to believe that one of these two editions was used as some form of basis for the other.

The beginning section of this thesis named Current Trends in the French Children's Literature is focused on a terminology concerning key theoretical terms in children's literature. Further content is focused on the history of children's literature, including a brief overview of the period and examples of the key works. There is a list of Major international and French literary prizes given to authors of children's books. The complex relationship between author and reader was also examined. The next part of the thesis is primarily focused on a literary analysis of three French novels for teenagers published at the beginning of the 21st century: Toby Alone by Timothée de Fombelle, La vie, en gros by Mikaël Ollivier and Oscar and the Lady in Pink by Éric-Emmanuel Schmitt. Emphasis is put not only on basic characteristics of contemporary children's literature but also on the singularity of these literary works. The problems of literary translation from French into a quite other language are covered in the final part of the thesis. The translator has to move a literary text into the target language and carry the distinctive character of a work, its idioms and tone. KEYWORDS children's literature, the reader, reading, the reception of the literary work, literary prizes in France, international literary...

La présente étude examine les facteurs qui ont favorisé le développement d'un important mouvement de traduction au XIXe siècle, plus précisément, depuis la période de Muhammad ‘Ali Pacha.La langue française était, pendant cette période, l’une des principales langues sources à être traduite. Le roman français, envisagé sous l'angle de la traduction littéraire, commençait à devenir un genre répandu, ce qui permet de mieux réfléchir sur la pratique traduisante, ses caractéristiques, sa problématique et son influence sur la langue et la culture arabes.Dans la seconde partie, le présent travail étudie la traduction littéraire et ses problèmes à travers l’examen du roman français traduit au XIXe siècle. On a choisi, dans ce but, d’analyser plusieurs traductions de « Paul et Virginie » qui ont paru à la fin du XIXe siècle. Elles révèlent l'intérêt particulier de nombreux traducteurs de l’époque pour ce roman.La troisième partie se penche sur les aspects culturels résultants et sur le grand bouleversement idéologique, linguistique et littéraire que la traduction de maints ouvrages français, des romans en particulier, a entraîné.Cette thèse s'inscrit dans les recherches qui étudient la traduction en général et plus particulièrement celles liées au monde arabe. Elle vise à enrichir le thème de la découverte de l’autre, à approfondir, à comprendre et à promouvoir les échanges culturels entre les peuples, arabophones et francophones notamment. Par le nouvel éclairage qu'elle apporte, elle contribue également à l’histoire des échanges des idées. / The present study examines the various factors who triggered the development of an important cultural translation current in the XIXth century.French language was then one of the main source languages to be translated. French novel, if we consider literary translation, was growingly spread, so it allows us to think upon the translation practices, its characteristics, its problems and how it influenced arabic language and culture.In the second part, this work studies literary translation and its problems, through the french novels which were translated in the XIXth century. For this, we decided to analyze several translations of « Paul and Virginie » released end of XIXth century. They show how many translators had keen interest for that novel at this time.Third part covers the ensuing cultural aspects and the huge ideological, linguistic and literary upheaval that translation of many french books, particularly novels, brought about.This thesis is part of researches who deal with translation in general and those linked with the arab world in particular. It intends to enrich the discovering of other people thema. It seeks to deepen, understand and promote cultural exchanges between arabic speaking and french speaking people in particular. Through the new vision it brings, it also contributes to the history of ideas.

Cette thèse se propose d'étudier la présence et la fonction des insertions dialectales dans les oeuvres littéraires italiennes contemporaines. Se focalisant sur les genres narratifs (prose et nouvelle) où le phénomène du plurilinguisme est le plus marqué, l'étude se concentre sur quatre auteurs (Andrea Camilleri, Salvatore Niffoi, Laura Pariani et Andrej Longo) chez qui le mélange vernaculaire / italien est le plus représentatif. Après avoir évoqué la situation linguistique particulière de l'Italie, ce travail de recherche analyse cette langue mêlant deux systèmes linguistiques différents sous lřangle de la traduction pour pouvoir dresser un parallèle entre les situations italienne et française. C'est le problème de la restitution de la langue mêlée, laquelle renvoie à un ancrage culturel et géographique très fort, qui est au centre de cette étude. Elle interroge la possibilité d'une recréation du même effet de lecture dans une culture cible qui ne connaît pas la même situation de diglossie. Nous voulons toutefois montrer, par l'analyse des traductions existantes, que le recours à un parler régional hexagonal peut être à même de restituer l'effet de défamiliarisation provoqué à la lecture des textes sources. / This PhD thesis examines Italian contemporary literary works (novels and short stories) in which dialect is used as a linguistic variety in combination with the national Italian idiom. The analysis is conducted through the works of four Italian writers, in which multilingualism is particularly significant: Andrea Camilleri, Salvatore Niffoi, Laura Pariani and Andrej Longo. Taking into account the complex linguistic situation of Italy, the thesis focuses on the translation of these works characterized by the co-existence of two different linguistic systems. Through an examination of the colourful mixture of linguistic varieties and the function of dialect in these contemporary texts, the thesis aims to make a contribution to the field of Translation Studies and of History of modern and contemporary Italian Literature (examining in particular linguistic and stylistic aspects). It begs the question of the reproducibility of the linguistic mosaic created by these Italian authors in their French translations. Translation of dialect and linguistic varieties, intended as a non-standard language usage in contemporary Italian literature, represents a challenge for countries (in this case France) in which diglossia has disappeared. However, the author argues that the use of certain regional French dialects enables to recreate the defamiliarization effect of the original Italian texts.

El lenguaje erótico es un fenómeno que trata el campo del erotismo y la sexualidad mediante elementos lingüísticos que forman parte del estilo de la autora. Las dificultades para traducir el lenguaje erótico radican en la comprensión y reexpresión de estos elementos con su sentido simbólico, así como en los constructos sexuales y eróticos de una determinada cultura e ideología. Por ello, la presente investigación se enfoca en analizar la traducción al inglés del lenguaje erótico en Afrodita: Cuentos, recetas y otros afrodisíacos, escrita por Isabel Allende y traducida por Margaret Sayers. El análisis discursivo del lenguaje erótico permite comprender las características del estilo, la voz y el modo narrativo. Nuestros objetivos se focalizan en descubrir cómo se presenta el lenguaje erótico en el texto fuente y en identificar cuáles son las estrategias y técnicas que optó la traductora Sayers para la versión traducida. Se propone aplicar la técnica del análisis de contenido, para que se construya un libro de códigos que permita analizar los elementos lingüísticos del lenguaje erótico en el texto fuente. En esta técnica, también se elaborarán fichas para analizar la voz y el modo a nivel macrotextual. Además, se aplicará la técnica del análisis textual contrastivo, para que se elaboren fichas que ayuden a comparar, en ambas versiones, los fragmentos y elementos seleccionados. Así, se explicarán las estrategias y técnicas que utilizó Sayers para la traducción del lenguaje erótico en Afrodita. / Erotic language is a phenomenon that addresses both the field of eroticism and sexuality through linguistic elements which are part of the author's style. There are difficulties in translating erotic language that lie in the comprehension and reexpression of these elements and its symbolic meanings, as well as in the sexual and erotic constructs of a given culture and ideology. Therefore, this research aims to analyze the English translation of Aphrodite: A Memoir of the Senses, a novel written in Spanish by Isabel Allende and translated by Margaret Sayers. The discursive analysis of the erotic language allows for understanding the characteristics of the style, voice and mode. Our aims consist of discovering how erotic language is presented in the source text and of identifying which are the strategies and techniques that Sayers chose for the translated version. We propose to apply the content analysis technique, so that linguistic elements of erotic language may be analyzed in the source text through a codification book. We also propose to elaborate index tabs to analyze the voice and mode at a macro-textual level. Furthermore, the contrastive textual analysis technique will be applied, so that selected fragments and elements may be compared and analyzed in both versions through index tabs. By this way, the strategies and techniques used by Sayers for the translation of erotic language in Aphrodite will be explained. / Trabajo de investigación

No description available.

На основе исследований теории перевода, теории культурных различий и принципов перевода литературных произведений изучается влияние культурных различий на перевод литературных произведений, анализируется методы разрешения культурных различий при переводе. / Based on the study of translation theory, cultural difference theory and literary works translation principles, study the influence of cultural differences on the translation of literary works, analyze the methods to resolve cultural differences in translation.

This thesis concerns Swedish translations of the Dutch independently used modal auxiliary verbs moeten, kunnen and willen in six Dutch novels from the period 1973-2000. Previous research has shown that independent use occurs frequently in Dutch but less frequently in Swedish. But there is still a need for large-scale comparative research.  For this analysis, I have conducted a corpus study based on systematically repeated searches for the three verbs. The goal of the study was to examine how these independently used modal auxiliary verbs were translated into Swedish and what patterns could be seen through this comparative study. Through this comparative study, I wanted to better highlight the differences and similarities between the languages regarding independently used modal auxiliary verbs.  The results showed that independently used modal auxiliary verbs occur more frequently in the corpus in Dutch than in Swedish and that the Dutch independently used modal auxiliary verbs were translated with a corresponding independently used modal in Swedish in about a fourth of the cases. But the results also show similarities in this area. / Deze scriptie betreft Zweedse vertalingen van de Nederlandse zelfstandig gebruikte modale hulpwerkwoorden moeten, kunnen en willen in zes Nederlandstalige romans uit de periode 1973-2000. Eerder onderzoek heeft vastgesteld dat zelfstandig gebruik vlot toegelaten is in het Nederlands maar minder frequent voorkomt in het Zweeds. Toch ontbreekt er grootschalig contrastief onderzoek.  Voor deze analyse werd een corpusonderzoek verricht op basis van systematisch herhaalde zoekopdrachten voor de drie modalen. Het doel van het onderzoek was om na te gaan hoe deze zelfstandig gebruikte modale hulpwerkwoorden in het Zweeds vertaald werden en wat voor patronen men kon zien door dit contrastief onderzoek. Met dit contrastief onderzoek wilde ik de verschillen en gelijkenissen tussen de talen wat betreft zelfstandig gebruikte modale hulpwerkwoorden beter belichten.  De resultaten lieten zien dat zelfstandig gebruikte modale werkwoorden in het corpus vaker voorkomen in het Nederlands dan in het Zweeds en dat de Nederlandse zelfstandig gebruikte modale hulpwerkwoorden in ongeveer een vierde van de gevallen met een corresponderende zelfstandig gebruikte modaal in het Zweeds vertaald werden. Maar de resultaten vertonen ook dat er toch gelijkenissen zijn op dit gebied.

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 / M.A. (Linguistics)

Résumé : Musicienne et traductrice de formation et de métier, je présente ici des traductions de poèmes contemporains qui s’annoncent, par leur titre ou leur forme, comme des fugues. Comme hypothèse de départ, je pose la possibilité du transfert des éléments de fugue musicale à ceux de la fugue littéraire. Ma démarche se décline en deux parties. Dans un premier temps, j’analyse les poèmes en suivant pas à pas la méthode de critique des traductions littéraires d’Antoine Berman. La méthode est adaptée à la traduction intersémiotique et rend compte des éléments de fugue contenus dans chacun des poèmes à l’étude. Dans un second temps, une fois le « projet de traduction » bien établi, je propose une traduction française des fugues-poèmes. Dans l’esprit de ce que Barbara Folkart nomme des « traductions d’auteur », dans le rendu proposé, je m’éloigne des approches dénotatives, tentant de réactualiser en français la démarche compositionnelle des poètes. Que retiendront les poètes pour leur projet de fugue-poème? Une confusion est-elle possible avec d’autres formes répétitives, comme le canon, le thème et variations, le ground, la chaconne, la passacaille, voire des formes de musique minimaliste? Malgré les appréhensions d’un certain nombre de critiques, qui taxent de « vaines » toute expérience intersémiotique ou toute tentative pour en démontrer les correspondances, on trouve quelques exemples probants de fugues littéraires. Bien entendu, la musique ne peut se traduire directement en mots. En s’attardant aux phénomènes perceptuels et créatifs, on accède à un degré correct de pertinence. Je me suis donné pour méthodologie le modèle de critique des traductions littéraires d’Antoine Berman, dont j’ai fait l’ossature des chapitres et auquel j’ai greffé des grilles d’analyse paradigmatique et rythmique. J’ai aussi eu recours à un pense-bête des principaux éléments fugaux (constituants de la fugue musicale, définitions de « fugue » dans la langue courante et critères psychiatriques de la « fugue dissociative »). Un questionnaire maison a été le point de départ de mon travail de collaboration avec les poètes. Dans le cas de Paul Celan (1920-1970), j’ai utilisé le même questionnaire, que j’ai rempli au gré de l’analyse et du dépouillement d’autres recherches. J’explore dans les six premiers chapitres les poèmes « Todesfuge » (1945) de Paul Celan, « Night Thoughts on Clauzewitz’s On War » (1986) d’E. D. Blodgett, « Lives of the Great Composers » (1983) de Dana Gioia, « Domestic Fugues » (2009) de Richard Newman, « Art of Fugue » (2011) de Jan Zwicky » et « Arugula fugues » (2001) d’Adeena Karasick. Dans la conclusion, je discute les résultats de recherche, les choix méthodologiques et le processus de traduction. Un tableau-synthèse des correspondances fugales est aussi présenté et commenté. Le chapitre intitulé « Stretto » vient élargir le corpus des fugues-poèmes analysées et traduites. J’y présente les fugues-poèmes suivantes : « Fugue » et « Round » de Weldon Kees, « Fugue in Cold and Rain » et « Little Fugue of Love and Death » de Richard Newman, « The Praying Mantis » d’Annie Charlotte Dalton Armitage, « The Ballad of the Pink-Brown Fence » de Milton Acorn, « The Children are Laughing » de Gwendolyn MacEwen, « And the Season Advances » d’Herménégilde Chiasson (dans une traduction de Jo-Anne Elder et de Fred Cogswell), « Fugue » de Robyn Sarah, « Fugue » du Kaddish d’Allen Ginsberg, « Fugue » de Neville Dawes, « Seaside Canon » de Julia Galef et « Stretto » de Don MacKay. // Abstract : As a professional musician and translator, I am presenting my translations of contemporary poems that are, either through their titles or their forms, fugue-poems. It is my hypothesis that elements present in a musical fugue can be transferred to a literary fugue. There are two parts to my research. First, I analyze the poems in strict accordance with Antoine Berman’s critical method for literary translation. I adapted the method in order to work with inter-semiotic translation, as well as the fugal elements contained in each of the poems studied. Next, with the “translation project” well established, I propose a French translation of the fugue-poems. Based on Barbara Folkart’s notion of “writerly translations,” I will attempt to capture the essence of the poems and recreate true works of literary art in French, rather than using purely denotative translation methods. Which elements do poets employ in their fugue-poems? Is there a possibility of confusing fugal elements with other repetitive forms, such as a canon, a theme and variations, a ground bass, a chaconne, a passacaglia or even certain forms of minimalist music? Despite the apprehension of some critics, who believe that inter-semiotic work or even the attempt to reveal any form of relationship is in vain, there are a number of clear examples of literary fugues. Naturally, music cannot translate directly into words. However, a study of the perceptual and creative phenomena allows us to make the connection. My research methodology is based on Antoine Berman’s model meant for critics of literary translations, which provides the backbone for the chapters in this presentation, and to which I have added a paradigmatic and rhythmic analysis grid. I also used a memory aid of the principal fugal elements (components of a musical fugue, definitions of a “fugue” in common usage, and the characteristics of the psychiatric disorder referred to as “dissociative fugue”). I designed a questionnaire, which I used as the basis for my collaboration with the poets. In the case of Paul Celan (1920-1970), I used the same questionnaire, which I filled out based on my analysis of his work, as well as analyses put forth by other researchers. In the first six chapters, I explore the following poems: “Todesfuge” (1945) by Paul Celan, “Night Thoughts on Clauzewitz’s On War” (1986) by E. D. Blodgett, “Lives of the Great Composers” (1983) by Dana Gioia, “Domestic Fugues” (2009) by Richard Newman, “Art of Fugue” (2011) by Jan Zwicky and “Arugula fugues” (2001) by Adeena Karasick. In the conclusion, I discuss the research results, the methodological choices and the translation process. I have also included a summary table (with comments) of the corresponding fugal elements. The chapter entitled “Stretto” concludes the corpus of analyzed and translated fugue-poems. It includes: “Fugue ” and “Round” by Weldon Kees, “Fugue in Cold and Rain” and “Little Fugue of Love and Death” by Richard Newman, “The Praying Mantis” by Annie Charlotte Dalton Armitage, “The Ballad of the Pink- Brown Fence” by Milton Acorn, “The Children are Laughing” by Gwendolyn MacEwen, “And the Season Advances” by Herménégilde Chiasson (translation by Jo-Anne Elder and Fred Cogswell), “Fugue” by Robyn Sarah, “Fugue” from Kaddish by Allen Ginsberg, “Fugue” by Neville Dawes, “Seaside Canon” by Julia Galef and “Stretto” by Don MacKay.