This thesis explores Englishness and its representation in translated children’s literature in Russia during the Soviet period (from 1917 until 1991) and the post-Soviet period (from 1992 until 2015). It focuses on Russian translations of English children’s classics published between the late-Victorian period and the Second World War. It studies how Russian translations of English children’s literature construct literary portrayals of Englishness in varied socio-cultural and historical contexts. It investigates the complex processes involved in re-creating national specificities of English literary texts in Russian culture. The Anglo-centric essence of Englishness – or ‘dobraia staraia Angliia’ [good old England] – is expressed to a greater degree in the classics of English children’s literature. It is this particular idealised Englishness that is represented in the Russian translations. This thesis demonstrates that various manifestations of Englishness are modified in Russian translations and that the degree of modification varies according to changes in the political climate in Russia. A significant role is played by ideology – of a prevailing political nature during in the Soviet Union and a commercial ideology in post-Soviet Russia. The first chapter lays the theoretical foundation for the whole thesis and outlines the methodology adopted. Chapters 2 and 3 set out the contextual background for understanding Englishness by focusing on the question of Englishness perceived from English and Russian perspectives, and discussing the main tendencies of representing Englishness in both cultures. Chapter 4 presents the historical background by highlighting the political and cultural circumstances in which Russian translations were made. The second half of the thesis (chapters five, six and seven) focuses on the analysis of the representation of Englishness in Russian translations. Chapter 5 discusses which English children’s books, published between the late-Victorian period and the Second World War, were selected for translation and at what point between 1918 and 2015. Chapters 6 and 7 present the case studies in this thesis. These provide an analysis of how different manifestations of Englishness were translated and, taking into account the Soviet and post-Soviet historical contexts, examine why they were translated in certain ways.

Qian Zhongshu's novel Fortress Besieged (Wei cheng), employing a wide variety of literary devices and abounding in cultural references, is a piece of literature exceptionally difficult to translate. This thesis identifies the main categories of problems the translator will encounter during its translation. Taking the English, French and Spanish versions of the novel as its ground, the thesis investigates what the paths are that the translator chooses when translating literary works culturally remote from the target language reader. The author starts out with the theories of Jiří Levý and approaches translation problems from a functional standpoint. He finds out, however, that a successful translation requires an effort not only from the translator but equally from the reader.

This thesis makes an inquiry into the literary translation and creation in the early twentieth-century China, particularly between the years 1900 and 1925. I combine the theoretical approaches of both translation studies and intertextuality studies to form the overall methodological framework that informs the discussions in the thesis. Although the modern transformation of Chinese literature has long been discussed and debated in various scholarly works, which often attribute the transformation to foreign influences and reconstruction of indigenous literary tradition, a theoretical language is urgently required to articulate the exact process of literary adaptation and appropriation. Rather than taking the concept of “influence” at face value, I probe the intricate process of influence by examining the way Chinese writers and translators creatively translated and intertextualized foreign literary works to construct new literary texts. The two modalities of literary production – translation and intertextuality – call for the approaches of translation studies and intertextuality studies, and only when both approaches are taken into account can a fuller understanding of the literary scene in the early years of twentieth-century China be obtained. I apply my methodology to the study of the transformation of emotional expressions which are most frequently found in love fiction. By combining translation and intertextuality, some Chinese writer-translators such as Bao Tianxiao and Zhou Shoujuan creatively translated foreign fiction, conveying emotions different from those intended by the original texts while at the same time introducing new modes of emotional expression to Chinese literature. Others, such as Su Manshu and Yu Dafu, borrowed foreign literary texts to construct their own literary creations, appropriating the emotions conveyed by the foreign texts. As a result of the vigorous adaptation and appropriation of Chinese writer-translators, new modes of emotional expression emerged in modern Chinese literature.

(in English): This M.A. thesis focuses on the translatological analysis of short proses called Histoires Naturelles written by the French author Jules Renard and it also focuses on their Czech translation made by Klementa Laubová at the end of 1911. During its elaboration new facts emerged, according to which Laubová did not work on the translation on her own. All the facts are based on personal correspondence and on a manuscript of translation. These new facts have led to the inclusion of a chapter dealing with the book market situation at the beginning of the 20th century (with a focus on translation), which the periodical newspapers expressed as a "book crisis". The work also focuses on a period fashion wave in a culture of acceptance, using allegories inspired by animal life. And last but not least, it points to the close interconnection of the personalities of the French literary scene with the personalities of the Czech literary translation.

The objective of this paper is to create a corpus of translations of Czech literature published in the form of book in Mexico until 2019 included and to describe how they were received. The aim of the paper is to answer questions about which Czech literature was published in Mexico, when and where it was translated, and who originated the translations. The theoretical part of the paper presents Czech-Mexican relations as they evolved in the sociocultural polysystem of the 20th century. The paper further uses the theoretical framework of the praxeology of translation and the translator's role, it explains the phenomenon of direct and indirect translation, it discusses the importance of paratexts for the study of translations, it explains the specificity of producing translations for the Spanish-speaking countries as well as it outlines the issue of translating from small cultures. Historiographical research, paratextual discourse analysis and oral history were used as the methodological core of this paper. Using these methods, the paper presents a corpus of 39 translated Czech literary works published in Mexico, including "imported" translations and re-editions, supplying comprehensive details on every one of them. At the end, the paper updates the corpus of Mexican literature translated into Czech...

Translating a Swahili literary work into French poses specific problems due to the small number of translations existing so far and the imaginary representations associated with these two languages in the translator’s mind. In the case of Euphrase Kezilahabi’s novels Nagona (1990) and Mzingile (1991), the task is complicated by the very peculiar nature of these narratives, whose apocalyptic substratum does not refer to an identifiable cultural universe but to the interstitial space between a world condemned to die and a world yet to be born. In this article I will provide some insights from my experience of translation of these two Swahili novels.

No description available.

No description available.

This MA thesis focuses on translation of Czech literature into English offering a historical account of its development (mainly from a quantitative perspective). To achieve this, an up-to-date bibliography of Czech literary translation into English has been compiled drawing upon existing research in the field. Covering Czech literary translation into English from its modern beginnings up to 2010, the bibliography contains about 2,500 records of works of Czech authors published either as separate books or in anthologies. Apart from the Excel version of bibliography enclosed to this thesis, the bibliography is also available as a web application enabling easy and ongoing updating in the future. Data collection was the main method of this part of the thesis. In addition, the thesis discusses in detail its methods and methodological issues helping better understand the nature of data and process of their collection. This is particularly useful for translation history researchers and for anyone interested in mapping literary translation into another language. The thesis also gives a basic outline of Czech literary translation into English summarizing major trends both in history and the present day, highlighting 15 most published Czech authors and discussing in more detail the renderings of their works...

Orientador: Maria Viviane do Amaral Veras / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-25T09:37:27Z (GMT). No. of bitstreams: 1 Pereira_JulianaCristinaFernandes_M.pdf: 1767935 bytes, checksum: cc5ac8a2f3da9afe0ab9dafb9186bb4b (MD5) Previous issue date: 2014 / Resumo: Nos últimos anos, têm sido divulgados inúmeros trabalhos com enfoque na representação do tradutor e do intérprete na literatura e no cinema, mas não tantos focam o revisor. E é justamente na fronteira entre realidade e ficção que se encontra o revisor-detetive Daniel Hernández, personagem central desta pesquisa, uma vez que seu autor Rodolfo Walsh (revisor, tradutor, ensaísta e, posteriormente, militante político) retira-o do mundo real e transporta-o para o ficcional. A presente pesquisa, portanto, tem por objetivo analisar a narrativa A aventura das provas de prelo, do escritor Rodolfo Walsh, como uma metáfora da tarefa do revisor, de seus rastros, de sua escrita, de seu trabalho de tradutor. Junto com o passo a passo do ofício do revisor, apresentamos o trajeto desta pesquisa: uma breve apresentação da vida de Rodolfo Walsh, bem como de sua literatura policial; conceitos relacionados à revisão, diretamente ligados ao dia a dia do revisor; a fundamentação teórica para a análise da tarefa do revisor e de sua criação como personagem de ficção, acompanhado de outros dois personagens: o revisor Raimundo Silva e o tradutor Gallus (abordados segundo uma visão mais conservadora, ou tradicional, de tradução e revisão) e o intérprete, senhor Kapasi (em cujas características reconhecemos uma visão denominada pós-estruturalista); a análise do personagem central criado por Rodolfo Walsh, o revisor-detetive Daniel Hernández. A título de desfecho, o ofício do revisor se apresenta como sempre mais ou menos terminado, sempre sujeito a falhas, confirmando que, ao menos no caso aqui estudado, não há crime perfeito / Abstract: Over the last years, a great number of papers have been written focusing on the part translators and interpreters play in literature and in the movies, but not many have concentrated on the proofreader's role. And precisely on the borderline between reality and fiction, we find proofreader-detective Daniel Hernández, the central character of this research, since his creator, author Rodolfo Walsh (proofreader, translator, essayist, and eventually, political activist), takes him out of the real world and plants him in the fictional. The scope of this paper, therefore, is to analyze the novel A aventura das provas de prelo (The Adventure of the Print Proofs), by author Rodolfo Walsh, as a metaphor of a proofreader¿s job, his tracks, his writings, and his work as a translator. Along with a step-by-step description of an proofreader¿s routine, we present the trajectory of this research: a brief presentation of the life of Rodolfo Walsh, as well as his police literature; concepts related to editing, directly connected to an proofreader¿s daily routine; the theoretical basis for the analysis of an proofreader¿s job and his creation as a fictional character, accompanied by two other characters: proofreader Raimundo Silva and translator Gallus (viewed through a more conservative or traditional lens of translation and editing) and the interpreter, Mr. Kapasi (in whose traits one can perceive a post-structuralist viewpoint); the analysis of the central character created by Rodolfo Walsh, proofreader-detective Daniel Hernández. By way of conclusion, the position of the proofreader always presents itself as more or less finished, always subject to flaws, confirming that, at least in the case studied here, there is no perfect crime / Mestrado / Mestra em Linguística Aplicada