published_or_final_version / Chinese / Master / Master of Philosophy

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(english): The thesis analyses a translation activity of Josef Wenzig (1807-1876), educator, translator, writer and librettist, who wrote primarily in German. During his life, Josef Wenzig translated numerous Czech poems from the first half of the 19th century. He was the translator of folk songs, poems of Kollár, Čelakovský, Štulc, Vocel, Jablonský, Erben and others. With his extensive work he tried to be a mediator between Czech and German culture. The thesis analyses individual compilations of translations, their presentation and reception, and primarily deals with the role of the translation between Czechs and Germans. The aspect of translator is also very important, because he grew up in the German family, but he took a positive stand on the Czech nation. The thesis aims to interpret Wenzig's texts (mainly forewords), which accompanied the translations, and their impact on the reception.

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This thesis explores changes in approaches to the interpretation of the genre of classical Chinese poetry re-created as English poetry during the twentieth century. This genre, produced by two literary cultures - Chinese and English - is subjected to critical scrutiny in both its original and re-created forms and this study discusses the extent to which critical theories resulted in shifts in the interpretive approaches of twentieth century translations of the genre. Interpretive changes are exposed by comparative analysis of publications of the genre by Ezra Pound and Arthur Waley, Burton Watson and Gary Snyder, James J. Y. Liu and Stephen Owen and Pauline Yu and Haun Saussy. This involves a discussion of how their formative years, environmental factors and critical pressures influenced their approaches to interpretation of the genre. The study found that changes to interpretative approaches for the genre rested on two key experiences of translators and readers. Primary influences - family, education and personal pursuits - did affect interpreters of the genre but secondary influences - critical theories, literary trends, political, religious and social movements - had greater impact on interpretive change. Isogesis, an unavoidable factor of cultural interpretation, insidiously influenced how the genre was interpreted and that the increased use of montage and anthology late in the twentieth century attempted to reduce the effect of isogesis and, even more importantly, returned the genre to its cultural roots, the Shijing, the earliest Chinese classical anthology of poetry. This study illustrates three areas of importance. Firstly, it shows that biographical and environmental factors affecting translators caused shifts in approach to interpretation of classical Chinese poetry re-created as English poetry. Secondly, choices of what to re-create and print - made by translators, editors and publishers - affect reader response to the genre. Thirdly and finally, it suggests the possibility that the interpretive approaches of these eight translators can be employed as poetic montage in the third millennium to reduce the effect of misinterpreting of the genre. / Thesis (M.A.)--School of Social Sciences, 2006.

Dai Wangshu 戴望舒 (1905-1950) was a prolific translator, working on both French and Hispanic literature. However, his translation work has often been considered relevant only to the extent that it helped him to develop a self-fashioned modernist style in his own poetic writing. Moreover, no systematic study has been conducted on his interest in Hispanic literature, particularly on his translation of Federico García Lorca’s poetry, a project to which he dedicated over half of his professional career but left unfinished. In addition, investigations on Dai have been generally approached from a narrow theoretical perspective that has risked overlooking the social factors that affected his literary activities. This thesis, therefore, aims to reveal the extent and the way in which translating Lorca into Chinese contributed to the establishment and consolidation of Dai’s position as a social agent in the field of literary production in China. The methodology is constructed in an attempt to reconcile a sociological perspective on translation drawing on Pierre Bourdieu’s theory with a more interpretive understanding of literary writing based on the notion of transculturation inherited from Latin American cultural studies. Examining Dai’s translation of Lorca’s poetry from this integrated perspective allows foregrounding the heterogeneity and multiplicity of Dai’s literary dispositions, at both a macroscopic and a microscopic level, without ignoring the social factors involved in his translation practice. By embedding Lorca’s poetry in the field of literary production in China, Dai privileged a particular set of possibilities over the others, both literary and ideological at the same time. This kind of behaviour in Dai can be interpreted in terms of transculturation and observed in various textual domains, involving formal literary elements, discourses and worldviews. Furthermore, Dai’s project of translating Lorca’s poetry, which expanded over a three-decade period, allows establishing striking connections among literary journals and groups at various temporal and spatial locations, each of them associated with different and often competing views on translation, literature and politics. In sum, Dai’s translation project of Lorca played a pivotal role in establishing and consolidating Dai’s position in the literary scene to the extent that his status as a literary figure was more determined by his translation work than by his own poetic writing. Dai’s translation of Lorca involved not only transculturating a specific text-type, the romance, but also a particular view on the role of literature in society that, unexpectedly, positioned him as an author opportunistically committed to the Communist cause. This investigation contributes new evidence that helps to question some long-standing assumptions both in studies on Dai and in reflections on the role of translation in Chinese literature. In addition, it allows arguing for a study of such a role at large without the need to subsume translation to any other sort of practice.

The diploma thesis Jan Zábrana, translator and poet - translating poetry while inspired by it? examines the relationship between the original works of Jan Zábrana and his translations, taking into account the similar thematic and formal inclinations of all the authors and the sociocultural context, preventing Jan Zábrana from publishing his own poetry. Based on the analysis of three variants of Zábrana's poem collections Utkvělé černé ikony, Stránky z deníku and Samosoud and his translations of poems by Allen Ginsberg, Lawrence Ferlinghetti, Gregory Corso and Kenneth Patchen, the thesis aims at finding the tendencies and models present both in Zábrana's original poems and his translations.

In this article I examine as mediations of urban experience poems written by Koos du Plessis. a contemporary Afrikaans poet. together with their musical rendition by Johannes Kerkorrel. a singer and musician from the Afrikaans altemative music scene and former member of Die Gereformeerde Blues Band. The poetry was initially published with musical arrangements in the volume Kinders van die Wind : En Ander Lirieke (1981) . In order to use this material in an article produced as part of an English study . I have translated the poetry into English . The translation (in linguistic and performative terms) of these poems has the dual effect of rendering them more appropriately for this study, and making them accessible to a wider audience. I am concemed with the way poems written by a poet from an earlier decade (the 1980s) interpret and mediate an urban identity and. further. with the fact that performance not only gives them a new lease of life. but also transforms them into works which have meaning and appeal for a more contemporary, broader audience. The fundamental issues addressed in this poetry , namely a response to and a negotiation of urban (South African) experience. continue to speak compellingly today. / Thesis (M.A.)-University of Natal, Durban, 2002.

Orientador: Fernando Cury de Tacca / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Artes / Made available in DSpace on 2018-08-03T21:19:17Z (GMT). No. of bitstreams: 1 Tosin_Giuliano_M.pdf: 8654138 bytes, checksum: 452fd5c864b8c74c43bde384b55379e4 (MD5) Previous issue date: 2003 / Resumo: Esta dissertação de mestrado apresenta um percurso histórico da poesia experimental que vai desde a Grécia Antiga até os dias de hoje, dando destaque aos principais movimentos artísticos e poéticos do século XX, entre eles os mais recentes, que utilizam meios de realização vinculados às tecnologias eletrônicas e digitais. Através do emprego da teoria semiótica, sobretudo a concebida por Charles S. Peirce, propõe-se a interpretar alguns princípios da poesia experimental e aprofundar-se na teoria da tradução intersemiótica, desenvolvida por Julio Plaza. Baseada nesta teoria, somada a fundamentos da teoria da informação, procura analisar a dinâmica dos processos pelos quais poemas visuais e verbais feitos em suportes convencionais (impressos) foram traduzidos para novas tecnologias / Abstract: This study presents a historical retrospective of experimental poetry that comprehends the period from Ancient Greece to present production, focusing on the main artistic and poetic movements of the 20th century, among them the most recent ones, which utilize electronic and digital technologies. Through the application of the semiotical theory, especially Charles S. Peirce¿s theory, it attempts to interpret some fundaments of experimental poetry and, afterwards, going into the theory of intersemiotical translation, developed by Julio Plaza. Based on this theory along with fundaments of the theory of information, the study aims to analyse the dynamics of the processes in which visual and verbal poems made in conventional media (print) have been translated into new technologies / Mestrado / Multimeios / Mestre em Multimeios

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished