Diss.--Geisteswissenschaftliche Fakultät--Universität Graz, 1991.

Diss.--Philosophischen Fakultät--Universität Zürich, 1989-90.

Academic diss.--Department of English, Faculty of humanities--Umeå--Umeå university, 1993.

No description available.

Dans le monde de la traduction littéraire, l'humour est réputé soulever des difficultés particulières et les travaux sur sa traduction portent le plus souvent sur des jeux de mots, des plaisanteries ou des textes courts. Rares sont ceux dont l'objet est la traduction de l'humour dans un texte long, comme un roman. L'objet de cette recherche est l'humour dans le roman de David Lodge intitulé Deaf Sentence et dans sa version française, La vie en sourdine, réalisée par Maurice et Yvonne Couturier. La thèse compte cinq chapitres. Le chapitre 1 est consacré à une revue de travaux sur l'humour raconté, puis lexicalisé et ensuite étudié. Dans le chapitre 2, j'expose les cadres conceptuel et opératoire qui balisent l'étude de cas et dans le chapitre 3 je présente David Lodge, le roman étudié et le couple Couturier qui a créé la version française. Le chapitre 4 est consacré aux passages du texte de départ auxquels j'ai attribué des effets humoristiques, ou qui contribuent à ces effets, et le chapitre 5 au texte d'arrivée, à ses similitudes et à ses différences avec le texte de départ ainsi qu'au sort que connaissent dans le texte d'arrivée les analogues des passages du texte de départ auxquels j'ai attribué des effets humoristiques, ou qui y contribuent. Suivent la médiagraphie et les annexes. / In literary translation, humour is known to raise numerous difficulties and the scholars interested in its translation most often study puns, jokes, and short texts, leaving aside the translation of humour in long texts, such as novels. The object of this study is humour in David Lodge's novel, Deaf Sentence, and in its French version, La vie en sourdine, translated by Maurice and Yvonne Couturier. The thesis has five chapters. Chapter 1 is devoted to humour narrated, lexicalised and studied. In chapter 2, I lay out the conceptual and operational frameworks of the case study and in chapter 3 I introduce David Lodge, the novel under study and the Couturier couple who created the French version. Chapter 4 focuses on the passages in the source text to which I attributed humorous effects, or which contribute to them, and Chapter 5 is dedicated to the target text, its similarities and differences with the source text and the fate of the passages to which I attributed humorous effects, or which contributed to it, in the source text. Mediagraphy and appendices follow.

Zugl.: Vechta, Hochsch., Diss., 2004

Orientador: Maria Viviane do Amaral Veras / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-23T04:18:06Z (GMT). No. of bitstreams: 1 Firmino_MarylinLimaGuimaraes_M.pdf: 2150279 bytes, checksum: 7bdaf99c773b277bb5c4eb2b95bf358d (MD5) Previous issue date: 2013 / Resumo: David Lodge aborda a temática da surdez de forma bastante inusitada no romance Deaf Sentence (2008). O protagonista é Desmond Bates, um professor de Linguística Aplicada aposentado, que está ficando surdo e passa por mal-entendidos decorrentes de suas dificuldades em distinguir sons de palavras similares, o que confere ao romance tons humorísticos e irônicos. Por meio da escrita de um diário, o personagem relata sua rotina, abalada pela jovem Alex, e introduz o leitor a uma visão especializada sobre questões de linguagem e literatura, além de expressar com lucidez suas impressões sobre a surdez, dando voz, de forma singular, a essa questão, ainda invisível para muitas pessoas. Os desafios de tradução se apresentam de pronto pelo título (um trocadilho entre deaf e death e polissemia da palavra sentence) e perpassam a narrativa, revelando uma forte ligação entre alguns aspectos paratextuais do romance e a história em si. Deaf Sentence coloca o tradutor diante de trocadilhos e articulações intertextuais que tornam o romance aparentemente intraduzível, ao mesmo tempo, convoca a transposição de fronteiras de forma obrigatória, como exige a tradução do humor. Nesse sentido, as soluções adequadas para os diversos desafios de tradução do romance estão intimamente ligadas às estratégias e recursos utilizados pelo tradutor. A partir do conceito de paratexto cunhado por Genette (2009), são apresentadas análises do título, dedicatória, epígrafe e agradecimentos, presentes no texto original, com o objetivo de expor seus possíveis efeitos sobre leitores e tradutores e, consequentemente, o recente conceito de paratradução (Yuste Frías, 2010) é abordado com o intuito de endossar a importância da tradução de paratextos para a recepção de obras literárias. As análises de capas de algumas traduções permitem o estabelecimento de relações entre imagens do original e de diferentes versões do romance, além de revelarem (ou não) relações com o seu conteúdo. A tradução brasileira Surdo Mundo, de Guilherme da Silva Braga (2010), foco das análises, divide o palco com as traduções A vida em surdina, de Tânia Ganho (Portugal, 2011), La vida en sordina, de Jaime Zulaika (Espanha, 2010), e La vie en sourdine, de Maurice e Yvonne Couturier (França, 2008). É possível estabelecer diálogos entre essas traduções, e a utilização ou não de notas mostrou-se um elemento evidente da singularidade das decisões tomadas pelos tradutores diante dos desafios. A partir das discussões em torno da (in) traduzibilidade de textos humorísticos feitas por Brezolin (1997), Schmitz (1996, 1998) e Possenti (1991), abordam-se possibilidades de tradução criativa desses gêneros discursivos. Levando-se em conta as especificidades de Deaf Sentence, é proposto um diálogo entre algumas vertentes teóricas aplicáveis à tradução do humor: Rosas (2002), Campos (1970) e Reiss e Vermeer (1996). O cotejo entre trechos selecionados de Deaf Sentence e de Surdo Mundo revela que a tradução criativa, processo de negociação amplo entre texto original e tradutor, parece justificar tranquilamente a ausência de notas, enquanto a sua presença nas demais traduções analisadas, em alguns casos, parece advir da aceitação da intraduzibilidade de determinados desafios / Abstract: David Lodge approaches the topic of deafness in a very unusual manner in the novel Deaf Sentence (2008). The protagonist is Desmond Bates, a retired professor of Applied Linguistics who is going deaf and is subject to some misunderstandings arising from his difficulties in distinguishing sounds of similar words, granting the novel ironic and humoristic riffs. By writing a journal, the character reports his routine, shaken by Alex, a young woman, introducing the reader to a specialized view on issues of language and literature, as well as lucidly expressing his impressions regarding deafness, giving voice, in a singular manner, to this issue, still invisible to many. The challenges of translation are immediately presented in the title (a pun regarding deaf and death and the polysemy of the word sentence), and continue throughout the narrative, revealing a strong connection between some paratextual aspects of the novel and the story itself. Deaf Sentence presents the translator with puns and intertextual articulations, which make the novel seemingly untranslatable, while at the same time mandatorily summoning the transposition of frontiers, as is required in the translation of humour. To this end, the adequate solutions for the several challenges in translating the novel are intimately linked to the strategies and resources used by the translator. Based on the paratext concept coined by Genette (2009), this thesis analyses the title, dedication, epigraph, and acknowledgements in the original. The objective is to show their possible effects on readers and translators, and consequently the recent concept of paratranslation (Yuste Frías, 2010) is used in order to stress how important the translation of paratexts is for the reception of literary works. This thesis also analyses the book covers chosen for different translations, establishing relations between images of the original and the different versions of the novel, besides revealing (or not) relations with its content. The Brazilian translation, entitled Surdo Mundo, by Guilherme da Silva Braga (2010), is the main focus of the analysis, sharing the stage with the translations A vida em surdina, by Tânia Ganho (Portugal, 2011), La vida en sordina, by Jaime Zulaika (Spain, 2010), and La vie en sourdine, by Maurice e Yvonne Couturier (France, 2008). It is possible to establish dialogic relationships among these translations, and, the choice of whether or not to use notes proved to be a clear element of how singular the decisions made by the translators were before the challenges. Based on the discussions around the (un)translatability of humoristic texts made by Brezolin (1997), Schmitz (1996, 1998) and Possenti (1991), this thesis deals with the possibilities of creative translation of these discursive genres. Taking into account the specific aspects of Deaf Sentence, a dialogue is proposed between some theoretical perspectives applicable to the translation of humour: Rosas (2002), Campos (1970) and Reiss and Vermeer (1996). The comparison between selected passages of Deaf Sentence and Surdo Mundo reveals that the creative translation - the ample negotiation process between the original text and the translator - seems to easily justify the absence of notes, while their presence in the other translations analyzed, in some cases, seems to be generated by the acceptance that certain challenges were untranslatable / Mestrado / Teoria, Pratica e Ensino da Tradução / Mestra em Linguística Aplicada

The last half of the twentieth century has seen a rapid increase in the process of secularization in both Britain and America, and this trend is nowhere more clearly evident than in the widespread relaxation of sexual mores. Within the Catholic Church a tension has arisen between liberal Catholics who argue for the right of Catholics to act according to the dictates of individual conscience, and traditionalists who champion the absolute moral authority of the Church. Liberal Catholics emphasize the Thomist view in which the flesh and its desires are seen as part of God's creation and, therefore, intrinsically good, while conservative Catholics lean toward an Augustinian/Jansenist view which equates sexual desire with the fallen nature of humankind. There has also been a great deal of unrest among Catholic women regarding continuing misogynistic tendencies within the male-dominated Church. This study focuses upon portrayals of women and sexuality in selected novels by four representative contemporary Catholic novelists, David Lodge, Mary Gordon, Piers Paul Read, and Anne Redmon. In their fiction, these writers pursue moral questions related to sexuality which preoccupy contemporary Catholics, reflecting in their work the empirical struggle of Catholics to reconcile Church law with their individual needs and desires. In their ratio to each other, these novelists represent in microcosm the spectrum of opinion among lay Catholics regarding sexual morality. Liberals David Lodge and Mary Gordon affirm in their fiction the goodness of the body and its desires, while Piers Paul Read argues for the orthodox view that the flesh must be rigidly controlled in the interests of spiritual health. Anne Redmon explores issues of women and sexuality without entering the debate between liberal and conservative Catholics. As this study makes clear, the contemporary Catholic novel provides an experientially based context for moral reflection on sexual behaviour parallel to and often in tension with the traditional teaching of the Church. The recent Catholic novel has also provided an important site for the exploration of women's sexual needs, desires, and moral thinking against the background of an all-male hierarchical Church, which has largely been silent in this area.

The last half of the twentieth century has seen a rapid increase in the process of secularization in both Britain and America, and this trend is nowhere more clearly evident than in the widespread relaxation of sexual mores. Within the Catholic Church a tension has arisen between liberal Catholics who argue for the right of Catholics to act according to the dictates of individual conscience, and traditionalists who champion the absolute moral authority of the Church. Liberal Catholics emphasize the Thomist view in which the flesh and its desires are seen as part of God's creation and, therefore, intrinsically good, while conservative Catholics lean toward an Augustinian/Jansenist view which equates sexual desire with the fallen nature of humankind. There has also been a great deal of unrest among Catholic women regarding continuing misogynistic tendencies within the male-dominated Church. This study focuses upon portrayals of women and sexuality in selected novels by four representative contemporary Catholic novelists, David Lodge, Mary Gordon, Piers Paul Read, and Anne Redmon. In their fiction, these writers pursue moral questions related to sexuality which preoccupy contemporary Catholics, reflecting in their work the empirical struggle of Catholics to reconcile Church law with their individual needs and desires. In their ratio to each other, these novelists represent in microcosm the spectrum of opinion among lay Catholics regarding sexual morality. Liberals David Lodge and Mary Gordon affirm in their fiction the goodness of the body and its desires, while Piers Paul Read argues for the orthodox view that the flesh must be rigidly controlled in the interests of spiritual health. Anne Redmon explores issues of women and sexuality without entering the debate between liberal and conservative Catholics. As this study makes clear, the contemporary Catholic novel provides an experientially based context for moral reflection on sexual behaviour parallel to and often in tension with the traditional teaching of the Church. The recent Catholic novel has also provided an important site for the exploration of women's sexual needs, desires, and moral thinking against the background of an all-male hierarchical Church, which has largely been silent in this area. / Arts, Faculty of / English, Department of / Graduate

This thesis is an investigation into the nature of the 'postmodern' narrative strategies and fictional methods in the work of two British Catholic writers. The work of David Lodge and Muriel Spark is here taken as an example ofthe 'Catholic novel'. In order to determine ifthe overlap ofpostmodern. and Christian-influenced narrative strategies constitutes more than a convergence or coincidence of formal concerns, narrative form in these novels is analyzed in the light of neo-Tho mist and Tho mist aesthetics, a traditional Catholic Christian theory of the arts. The 'postmodern' in these 'Christian' texts becomes largely a coincidence of terminology. Narrative forms which can be classified as 'postmodern' can also be categorized using the terminology of Thomas Aquinas. The apparent similarities betray radically divergent metaphysical presuppositions, however. The nature of the Catholic 'difference' lies in the way postmodern forms are used to challenge the metaphysical bases of those forms. / English Studies / M.A. (English)