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.

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.

Thesis (PhD)--Stellenbosch University, 2012. / ENGLISH ABSTRACT: This comparative study investigates the English translations of China’s first novel, Sanguo yanyi. The focus is firstly on describing the factors that affect the production of each of the translations and secondly on identifying and determining the approaches and strategies used by the two translators. The primary objective of the study is to gain a better understanding of literary translation between two distinctly different languages by objectively describing and analyzing the factors relevant to the production of the two translations. The secondary objective is to evaluate the two translations by using the functionalist approach to translation. To this end, the study determines which of the two translations better serves the purpose of providing South African students of Chinese with insight into and appreciation of some aspects of Chinese culture which would enhance their Chinese studies. The key theories and models that are introduced and applied are Descriptive Translation Studies (DTS), which was mainly established by Gideon Toury in the 1980s and the Functionalist Approach, which was established by Vermeer and Reiss also in the 1980s and further developed by Nord. DTS focuses on pragmatic aspects, such as social, cultural and communicative practices instead of only on linguistic units. Within this framework, decisionmaking processes and translational norms of the two translators of Sanguo yanyi are examined. Three representative chapters of the source text and their translations are selected as the focus of the investigation. Furthermore, a description of the entire translation process is provided – from the translators’ original planning and agents acting as patrons of the project to the approaches and strategies that the translators are considered to have adopted in the process of translating. Within Functionalism the function of the target text in the target culture determines which aspects of the source text should be transferred to the target text. From this theoretical approach the findings regarding the translation strategies and processes in the translations of Sanguo yanyi are used to ultimately determine the extent to which the translators succeed in conveying the collective memory of some of the cultural-historical issues in China to the target texts, while at the same time making the texts accessible to Western (South African) students. / AFRIKAANSE OPSOMMING: In hierdie studie word daar ’n vergelykende ondersoek na twee Engelse vertalings van China se eerste roman, Sanguo yanyi, onderneem. Daar word eerstens gefokus op ’n beskrywing van die faktore wat die produksie van elk van die vertalings beïnvloed en daarna word die benaderings en strategieë geïdentifiseer wat deur die twee vertalers gebruik is. Die primêre doel van die studie is om ’n beter begrip van literêre vertaling tussen twee beduidend verskillende tale te verkry deur die faktore wat ’n rol in die betrokke vertaalprosesse speel op ’n objektiewe wyse te beskryf en te ondersoek. As sekondêre doelstelling word die twee vertalings binne die raamwerk van die funksionalistiese benadering tot vertaling geëvalueer. Daar word naamlik ondersoek watter een van die vertalings die beste slaag in die doel om aan Suid-Afrikaanse studente ’n dieper insig in en groter waardering vir sekere aspekte van die Chinese kultuur te verskaf ten einde hulle studie van die Chinese taal aan te vul. Die belangrikste teorieë en modelle wat gebruik word, is deskriptiewe vertaalstudie (DTS), wat as navorsingsrigting binne vertaling hoofsaaklik deur Gideon Toury in die tagtigerjare gevestig is, en funksionalisme, wat ook in die tagtigerjare deur Vermeer en Reiss ontwikkel is en later deur Nord uitgebrei is. DTS fokus op pragmatiese aspekte soos sosiale, kulturele en kommunikatiewe praktyke eerder as bloot op linguistiese eenhede, en die besluitnemingsprosesse en vertaalnorme van die twee vertalers van Sanguo yanyi word binne hierdie raamwerk ondersoek. Drie verteenwoordigende hoofstukke van die bronteks en hulle vertalings word as die fokus van die ondersoek gebruik. Verder kom ’n bespreking van die vertaalprosesse in die geheel aan bod – vanaf die vertalers se aanvanklike beplanning en agente wat as patronate van die projek optree tot die resepsie en invloed van die doeltekste in die Engelssprekende wêreld. Binne die funksionalisme bepaal die funksie van die doelteks binne die doelkultuur watter aspekte van die bronteks na die doelteks oorgedra word. Vanuit hierdie teoretiese benadering word die bevindinge rakende die vertaalstrategieë en –prosesse in die vertalings van Sanguo yanyi gebruik om uiteindelik te bepaal in watter mate die vertalers daarin slaag om die herinnering aan kultuurhistoriese kwessies in China in die doeltekste behoue te laat bly en die tekste terselfdertyd vir Westerse (Suid-Afrikaanse) studente toeganklik te maak.

published_or_final_version / Chinese / Master / Master of Philosophy

University of Macau / Faculty of Arts and Humanities. / Department of English

This thesis explores the first English translations of Molière's works published between 1663 and 1732 by writers that include John Dryden, Edward Ravenscroft, Aphra Behn, and Henry Fielding. It challenges the idea that the translators straightforwardly plagiarized the French plays and instead argues that their work demonstrates engagement with the dramatic impact and satirical drive of the source texts. It asks how far the process of anglicization required careful examination of the plays' initial French national context. The first part of the thesis presents three fundamental angles of interrogation addressing how the translators dealt with the form of the dramatic works according to theoretical and practical principles. It considers translators' responses to conventions of plot formation, translation methods, and prosody. The chapters are underpinned by comparative assessments of contextual theoretical writings in French and English in order to examine the plays in the light of the evolving theatrical tastes and literary practices occasioned by cross-Channel communication. The second part takes an alternative approach to assessing the earliest translations of Molière. Its four chapters are based on close analysis of culturally significant lexical terms which evoke comically contentious social themes. This enquiry charts the changes in translation-choices over the decades covered by the thesis corpus. The themes addressed, however, were relevant throughout the period in both France and England: marital discord caused by anxieties surrounding cuckoldry and gallantry, the problems of zealous religious ostentation, the dubious professional standing of medical practitioners, and bourgeois social pretension. This part assesses how the key terms in translation were chosen to resonate within the new semantic fields in English, a target language which was coming into close contact with new French terms.

University of Macau / Faculty of Social Sciences and Humanities / Department of English

This thesis is structured into four sections. The first section is a brief statement on the choice of the text chosen for the purpose of translation. Ityala Lamawele is one of the old and classic Xhosa texts and after seeing some translated texts either from Xhosa to English or English to Xhosa such as Uhambo Lomhambi (The Pilgrim's Progress) Ingqumbo Yeminyanya (The Wrath of the Ancestors), Akusekho Konwaba (No Longer at Ease) and having not seen any translation of Ityala Lamawele, I felt an attempt at translating Ityala Lamawele was long overdue. This first section also looks at the theoretical aspects of translation that will inform the translation of ltyala Lamawele. The second section is the actual translation (the process and the product) of selected extracts which deal specifically and exclusively with the case of the twins. Though the translation of the whole text is not a remote possibility or consideration, for the purpose of this thesis, selected extracts will be dealt with. The third section of this thesis is the reflection on and the discussion of the choices I have made. This section looks at the process of translating ltyala Lamawele, the challenges and obstacles that I have come across, the way I have put and expressed issues and why. / Thesis (M.A.) - University of Natal, Pietermaritzburg, 2002.

Bibliography: leaves 199-231. / 231 leaves ; 30 cm. / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of English, 1997