Thesis (M. A.(Translation Studies)) -- University of Limpopo, 2014. / This topic outlined the importance of translation of Xitsonga novel which is translated in Xitsonga by G.S. Mayevu. This showed how translation is so important in Xitsonga language. Mayevu and other translators had tried their level best to better the Xitsonga language through translation. This research pointed out in details problems which translators come across and how these problems can be overcomed. In this research, we also realised how scarce students who are doing translation are. The researcher also recommend that translation be taken into consideration in the world at large because people can together, discuss and agree on issues through translation.

published_or_final_version / Chinese / Master / Master of Arts

published_or_final_version / Chinese / Master / Master of Philosophy

Translating and reading western modernist literature played a vital role in forging contemporary Chinese literature and China’s mode of subjectivity, but little has been written about them, and even less about the interconnections between them. My PhD thesis aims to offer a comprehensive interpretation of the phenomenon of translating and reading modernist literature in Mao’s China, focusing particularly on translators’ and readers’ agency, and their collective construction of a multifaceted discourse of subjectivity. The central questions I try to answer in my thesis are: For what “practical” purposes or needs did the Chinese Communist Party order the translation and publication of these modernist texts which are clearly against the ideology of Mao’s China? What mark did translators from state controlled institutions leave in the intellectual history of China? Why did western modernist literature of 1950s cause such a strong response from the intellectual youth in the 1970s? In Mao’s China, there were a number of modernist literature texts that were translated and published. They were only intended to be available for a very limited readership consisting of high ranking party officials, but ended up being leaked, and eventually became extremely popular in the underground reading movement. I decided to focus on the three most widely read texts, which are On the Road (first translated into Chinese in 1962), Catcher in the Rye (first translated into Chinese in 1963), and Waiting for Godot (first translated into Chinese in 1965). By mapping the translation process and the underground reading of these texts into the context of the politics of China from the early 1960s to the late 1970s, my study provides three arguments which attempt to answer the three questions raised above: 1) Mao’s China encountered similar modernity situations so that western modernist literature after World War II was translated for internal circulation and criticism; 2) Thanks to the subjectivity of translators from state controlled institutions, their translations paved the way for the rising of the self, the end of revolution, and the individualization of Chinese society; 3) As early as in the 1960s to 1970s, the conscious reading of modernist literature brought alternative understandings of self and ways of being, and the sent-down Chinese youth have new self-projection by reading these texts. Few researchers have studied translation beyond analysis of target language text (TLT), while my methodological innovation is to connect three traditionally isolated subjects into a single continuing process of meaning giving activity: the source text and their role in forging western subjectivity; translators and their translations in Mao’s context; and Chinese underground reading of western literature from late 1960s to 1970s. This is a comparative and theoretical study of the three chosen texts in their historical contexts in order to reconsider the cultural significance of translating and reading modernist literature in Mao’s China. I hope it will modify our view of translation and reading history in Mao’s China, contributing to theories of subjectivity and the plurality of Chinese modernity discourse. / published_or_final_version / Chinese / Doctoral / Doctor of Philosophy

郭豔玲. / 論文 (哲學碩士)--香港中文大學, 1999. / 參考文獻 (leaves 295-297). / 附中英文摘要. / Guo Yanling. / Lun wen (zhe xue shuo shi) -- Xianggang Zhong wen da xue, 1999. / Can kao wen xian (leaves 295-297). / Fu Zhong Ying wen zhai yao. / Chapter 第一章 --- 前言 --- p.4 / Chapter I --- 硏究動機、目的 --- p.4 / Chapter II --- 硏究範圍 --- p.4 / Chapter III --- 硏究方法 --- p.5 / Chapter IV --- 資料搜集的範圍、資料來源和資料搜集的困難所在 --- p.7 / Chapter V --- 文學類翻譯書籍的界定和分類 --- p.21 / Chapter 第二章 --- 近五十年來文學類譯書在香港的出版情況 --- p.29 / Chapter I --- 1946年以前文學類譯書在香港的出版情況 --- p.29 / Chapter 一 --- 時代背景及書業的發展 --- p.29 / Chapter 二 --- 文學類譯書的出版情況 --- p.30 / Chapter 三 --- 總結 --- p.33 / Chapter II --- 四十年代末期及五十年代文學類譯書在香港的出版情況 --- p.35 / Chapter 一 --- 時代背景及書業的發展 --- p.35 / Chapter 二 --- 文學類譯書的出版情況 --- p.48 / Chapter 三 --- 總結 --- p.78 / Chapter III --- 六十年代文學類譯書在香港的出版情況 --- p.81 / Chapter 一 --- 時代背景及書業的發展 --- p.81 / Chapter 二 --- 文學類譯書的出版情況 --- p.94 / Chapter 三 --- 總結 --- p.109 / Chapter IV --- 七十年代文學類譯書在香港的出版情況 --- p.112 / Chapter 一 --- 時代背景及書業的發展 --- p.112 / Chapter 二 --- 文學類譯書的出版情況 --- p.120 / Chapter 三 --- 總結 --- p.142 / Chapter V --- 八十年代文學類譯書在香港的出版情況 --- p.144 / Chapter 一 --- 時代背景及書業的發展 --- p.144 / Chapter 二 --- 文學類譯書的出版情況 --- p.158 / Chapter 三 --- 總結 --- p.195 / Chapter VI --- 九十年代文學類譯書在香港的出版情況 --- p.197 / Chapter 一 --- 時代背景及書業的發展 --- p.197 / Chapter 二 --- 文學類譯書的出版情況 --- p.214 / Chapter 三 --- 總結 --- p.240 / Chapter 第三章 --- 從文學譯書的出版情況探討本港文學翻譯事業的發展 --- p.242 / Chapter I --- 五十年來各類文學譯書出版情況分析及總結 --- p.242 / Chapter 一 --- 文學譯書出版的整體數量 --- p.242 / Chapter 二 --- 各種文體譯書數量的百分比 --- p.245 / Chapter 三 --- 1946-1995小說譯書的出版趨勢 --- p.246 / Chapter 四 --- 1946-1995散文譯書的出版趨勢 --- p.249 / Chapter 五 --- 1946-1995詩歌譯書的出版趨勢 --- p.251 / Chapter 六 --- 1946-1995劇作譯書的出版趨勢 --- p.252 / Chapter 七 --- 1946-1995兒童文學譯書的出版趨勢 --- p.255 / Chapter 八 --- 1946-1995其他文學類譯書的出版趨勢 --- p.256 / Chapter 九 --- 關於譯書的原作者 --- p.258 / Chapter 十 --- 關於譯書的譯者 --- p.264 / Chapter 十一 --- 出版文學譯書的出版社 --- p.269 / Chapter II --- 從文學譯書出版的整體特色探討香港的文學翻譯事業發展槪 況 --- p.275 / Chapter III --- 香港譯者在譯介文學作品上扮演的角色 --- p.285 / Chapter IV --- 五十年來的文學譯書出版及文學翻譯事業的發展帶給本港翻 譯界的啓示 --- p.290 / 參考書目 --- p.295 / 參考篇目 --- p.298 / 在資料搜集期間曾接觸/訪問/向其查詢資料的人物名單 --- p.304 / 爲豐富論文內容而出席的講座/硏討會/學術會議 --- p.307 / 附錄：香港的文學類翻譯書籍出版紀錄［1946-1995］

This dissertation examines the principal Japanese translations of Arthur Waley (1889-1966): Japanese Poetry: The Uta (1919), The No Plays of Japan (1921), and The Tale of Genji (1925-33). These works have been overlooked as English literature of the British modern period, although Waley intended most of his translations to function as modern English literature. I include a short biography of Waley's formative years and maintain that aspects of his identity—Jewish, bisexual, and socialist—were important in the choice of his occupation and in the selection and interpretation of his texts. I situate Japanese culture in the context of orientalism and Anglo-Japanese political relations. Japanese culture had a role to play in Anglo-Japanese imperialisms; this is demonstrated through an examination of the activities of the Japan Society of London, where Waley presented one of his first translations. The School of Oriental Studies in London also provided a platform for the translation and dissemination of Asian literature for the express purpose of promoting British imperial interests in the Far East. As an orientalist working through these institutions and the British Museum, Waley's positioning of himself as a Bloomsbury anti-imperialist was ambiguous. His texts, moreover, had a role to play in the presentation of Japan as an essentially aesthetic, 'feminine' nation. There are few letters, and no diaries or working papers of Waley. I rely, therefore, on his published works, as well as the memoirs, letters and biographies of family members and friends, especially those of the Bloomsbury Group with which he was associated. I make extensive use of the Transactions of the Japan Society and historical records of the School of Oriental Studies, as well as critical reviews of Waley and other translators. Social and cultural histories of the period are used to construct key. contexts: the Anglo-Jews, the Cambridge Fabians, British orientalism, and English modernism between the wars. Since I maintain that homoeroticism in Japanese literature was one of its attractions for Waley, I also look to queer theory to assist in my reading of Waley's texts. I conclude that The Tale of Genji enabled Waley to realize a personal ambition to write stories, and he produced a unique English novel that remains not only the most important modernist interpretation of Japanese culture between the wars, but a remarkable record of Edwardian-Bloomsbury language and aesthetic sensibility.

Various problems which occur during the translation of a literary text are often linked to the linguistic and extra-linguistic particularities of the original text. This thesis, which focuses on A Prayer for Owen Meany by John Irving and its French translation, Une priere pour Owen by Michel Lebrun, deals with several of these problems. The analysis is based on two axes of reflection. The first, theoretical, is discussed in chapter one and bears on three fundamental elements of the act of translation: the notion of the ethics of translation (which concerns, among other things, the question of accuracy, or "faithfulness"); the actual process of translation, that is the operation during which certain characteristics of the source text are necessarily modified; and, finally, the polysystem theory. This approach allows the consideration of "external" elements, for example, the target culture and reader. / The second axis of reflection is in fact inspired in large part by the polysystem theory because of this consideration. As both the original and its translation refer to a specific linguistic context, literary intertext and socio-cultural milieu, chapter two deals with John Irving's and Michel Lebrun's bio-bibliography as well as certain characteristics of the American and French polysystems and of the best-seller markets in the two countries. We felt it would be useful to study these factors in order to better evaluate the translated text and to better understand the translator's choices. / In the third and final chapter the translation itself was analysed. The study of the solutions chosen by Michel Lebrun to solve the problems posed by the source text leads us to believe that the translator produced a text responding to the expectations of the average reader, fond of best-sellers.

Orientador: Brunno Vinicius Gonçalves Vieira / Banca: Robson Tadeu Cesila / Banca: João Batista Toledo Prado / Resumo: Buscando contribuir com a pesquisa de traduções lusófonas dos clássicos greco-romanos e com a recepção desses textos em nossas letras, o presente trabalho procurou inventariar, estudar e divulgar a obra tradutória de Marcial realizada por José Feliciano de Castilho, português que viveu no Rio de Janeiro de 1847 até sua morte em 1879. A análise das traduções do luso-brasileiro dá indícios sobre a maneira como o século XIX leu e propagou a obra do poeta de Bílbilis, considerando sua importância como epigramatista e como difusor de uma temática licenciosa e, por vezes, obscena. Propõe-se nesta dissertação um percurso teórico partindo de um panorama da recepção de Marcial no século XIX e na contemporaneidade, a fim de evidenciar as diferentes visões desses períodos. Em seguida o leitor encontrará um estudo de como se deram a leitura e tradução de Marcial por Castilho José, novamente, contrastando-as com a recepção atual desse poeta. Por fim, apresenta-se uma antologia em formato bilíngue dos epigramas contidos na Grinalda da Arte de Amar (1862) com notas e comentários das especificidades de suas traduções / Abstract: Aiming at contributing to the research of Greek-Roman classical translations into Portuguese and the acceptance of these texts in our literature, this study tries to register, as well as study and spread the work of Martial's translations produced by José Feliciano de Castilho, a Portuguese who lived in Rio de Janeiro from 1847 until his death in 1879. The analysis of the translations of this Portuguese-Brazilian poet gives some clues about how the nineteenth century read and spread the poetry of Bilbilis author, taking into account his influence as both epigrammatist and a person who spread his dissolute and sometimes, obscene poetic matters. Intending to present the different views of the nineteenth century and to the present time on Martial's poetry, we propose a theoretical path on this work in order to show the different approaches of these periods of time. Then the reader will find a study of how to have a reading and translation of Martial by José Castilho, once again, contrasting them with the current receive this poet. Finally, it features an anthology of epigrams in bilingual format contained in Grinalda da Arte de Amar (1862) with notes and comments on the specifics of his translations / Mestre

This dissertation examines the principal Japanese translations of Arthur Waley (1889-1966): Japanese Poetry: The Uta (1919), The No Plays of Japan (1921), and The Tale of Genji (1925-33). These works have been overlooked as English literature of the British modern period, although Waley intended most of his translations to function as modern English literature. I include a short biography of Waley's formative years and maintain that aspects of his identity—Jewish, bisexual, and socialist—were important in the choice of his occupation and in the selection and interpretation of his texts. I situate Japanese culture in the context of orientalism and Anglo-Japanese political relations. Japanese culture had a role to play in Anglo-Japanese imperialisms; this is demonstrated through an examination of the activities of the Japan Society of London, where Waley presented one of his first translations. The School of Oriental Studies in London also provided a platform for the translation and dissemination of Asian literature for the express purpose of promoting British imperial interests in the Far East. As an orientalist working through these institutions and the British Museum, Waley's positioning of himself as a Bloomsbury anti-imperialist was ambiguous. His texts, moreover, had a role to play in the presentation of Japan as an essentially aesthetic, 'feminine' nation. There are few letters, and no diaries or working papers of Waley. I rely, therefore, on his published works, as well as the memoirs, letters and biographies of family members and friends, especially those of the Bloomsbury Group with which he was associated. I make extensive use of the Transactions of the Japan Society and historical records of the School of Oriental Studies, as well as critical reviews of Waley and other translators. Social and cultural histories of the period are used to construct key. contexts: the Anglo-Jews, the Cambridge Fabians, British orientalism, and English modernism between the wars. Since I maintain that homoeroticism in Japanese literature was one of its attractions for Waley, I also look to queer theory to assist in my reading of Waley's texts. I conclude that The Tale of Genji enabled Waley to realize a personal ambition to write stories, and he produced a unique English novel that remains not only the most important modernist interpretation of Japanese culture between the wars, but a remarkable record of Edwardian-Bloomsbury language and aesthetic sensibility. / Arts, Faculty of / English, Department of / Graduate

Since the late 1990s there has been an increasing interest in the representation of Balkan culture in the literary works of authors writing in English. Scholars (Bakić-Hayden 1995, Todorova 1997, Goldsworthy 1998, Norris 1999, Hammond 2010) have shown how literary representations of the Balkans have reflected and reinforced its stereotypical construction as Europe’s “dark and untamed Other. However, the contribution of translated literature in the representation of these images has rarely been considered, and in particular that of children’s literature has been seriously neglected. Thus, this study of images of the Western Balkans in translated children’s literature published in the period of 1990 2013, adds a hitherto uncharted literary terrain to the Balkanist discourses and helps shed a new and more complete light on the literary representations of the Balkans, and the Western Balkans more precisely. Children’s literature has been selected for the scope of this study due to its potential to transform and change deeply rooted stereotypes. The study approaches translations as framing and representation sites that contest or promote stereotypes in the global literary market. English has been selected as a target language due to its global position as а mediating language for the promotion of international literature, and with that also carrying stereotypes and transmitting them efficiently. This study looks at the images embedded in the texts, both source and target, and their representation in translation, including the translator’s interventions, but even more at the level of paratexts, and especially in the use of illustrations. It also examines adaptations accompanying the presentation of the translated book into the target society, such as documentaries, music scores and theatre performances. The discussion also considers how a book is selected for translation, and how different production participants contribute in the whole process of translation, including their motivations and goals, as well as their location. Using the methodology of imagology (Leerssen, 2007), and multimodal visual analysis (Kress and van Leeuwen, 1996, 2006), five case studies are elaborated, covering books from five different countries in the Western Balkans (Bosnia and Herzegovina, Croatia, Serbia, Macedonia, and Montenegro) and from five different types within children’s literature (non-fiction, anthology, novel, picturebook, and an e-book). The five case studies confirm the complexity of the topic at hand. Although there are no firm patterns in the production of English translations of contemporary children’s literature from the Western Balkans we can point out several observations. While the translations of the text, in most cases, closely follow the source text, with only slight interventions by some of the translators, the translated books differ quite significantly in their paratexts, especially illustrations and adaptations accompanying the book for the target culture. In terms of the representation of violence, as one of the predominant stereotypical characteristics of the Western Balkans, images vary from direct representation of violence to full erasure of violent acts. The discussion on presenting violence is analysed from two distinct points of view, the two traits of auto- and hetero- images as identifies in the case studies. In cases of self-representation, the case studies show a network of production participants in which the source author can be seen as the driving force in the process, usually recruiting friends and supporters to perform other tasks in the process translators, illustrators, publishers, etc. The auto-images take the form of ‘nesting’ Balkanisms, balancing (non)violent masculinities, or centring on love and humaneness. On the other hand, networks led by translators/editors located in the target culture will more often be motivated by commercial factors, along with representation of the source culture, thus either emphasizing the preconceived stereotypes of dominant violence in the Western Balkans, or turning towards globalizing the images of violence.