O objetivo deste trabalho é analisar o último livro de poesia de Mário de Andrade, Lira Paulistana, com especial atenção para o longo poema A meditação sobre o Tietê, cujo aspecto mais importante é a figuração do estado de derrelição da voz poética, manifestado num permanente efeito de pungência em todo o poema. A derrelição é fruto da percepção de uma impossibilidade experimentada como contradição insolúvel de encontrar a alteridade autêntica e, por meio dela,o sentido da própria identidade. A raiz desse conflito é social. Pela análise do poema, procura-se demonstrar que a contradição insolúvel encontra sua formalização literária no limiar da morte. / The objective of this paper is to analyze the last poetry book from Brazilian author Mário de Andrade, Lira Paulistana, giving special attention to the long poem \"A meditação sobre o Tietê\". The most important aspect of this poem is the portraying of the state of dereliction of the poetic voice. This state is manifested by a permanent effect of poignancy throughout the poem. The dereliction is born from the perception of an impossibility ? experienced as an insoluble contradiction ? of finding genuine otherness and, through it, the sense of the own identity. This conflict has a social source. The analysis of the poem tries to demonstrate that the insoluble contradiction finds its literary formalization in the threshold of death.

Abstract Imagery can be one of the difficulties a translator faces. It can be difficult to transfer the same image in a metaphor, simile, metaphorical adjective or a cultural reference to the target text. The aim of this study is to look at what translation strategies can be used for the translation of said imagery. The method is a quantitative analysis of the source text’s imagery types and a qualitative analysis of the translation strategies used. Since the language pair come from the same language family and have a lot of similarities in terms of culture, literal translations, equivalences and, in some cases, adaptions were suspected to be more frequent. The results show that for metaphors, similes and metaphorical adjectives literal translations were the most frequent ones, followed by equivalents carrying the same connotations, for metaphors and adjectives. Adaption, which is perhaps not really translation at all, was frequently used for the cultural references due to the target oriented approach. Omission and neutral explanations were used where the loss of information did not affect the presumed understanding of the target text reader. Transference, transposition and calque were used to some extent but not as frequent as suspected. In conclusion, when two languages are as similar as Swedish and English, a translator can go far by using literal translation or, where applicable, equivalents.

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<p>Language-play can briefly be described as the wilful manipulation of the peculiarities of a linguistic system in a way that draws attention to these peculiarities themselves, thereby causing a communicative and cognitive effect that goes beyond the conveyance of propositional meaning. Among the various phenomena answering this description are the different kinds of puns, but also more strictly form-based manipulations such as rhymes and alliteration, in addition to a host of other, sometimes even fuzzier, subcategories.</p><p>Due to its unusual nature, and especially its frequently strong dependence on the idiosyncrasies of a particular language, language-play can generally be assumed to constitute a significant challenge in a translation context. Furthermore, given its non-negligible effects, the translator is not free to simply ignore the language-play (provided it has been recognized as such in the first place) without having taken an active stance on its treatment. However, the difficulties in finding a suitable target-language solution are possibly exacerbated if the source text is a complex multimedia product such as a film, the translation of which, normally in the form of dubbing or subtitling, is subject to additional constraints.</p><p>In view of these intricacies, it has been the aim of this study to analyze and measure how language-play in film has actually been treated in authentic dubbing and subtitle versions. As a prerequisite, the concept of language-play has been elaborated on, and more than a dozen subcategories have been described, developed, and employed. For the purpose of carrying out a meaningful analysis of the dubbing and subtitling of language-play, a corpus has been compiled, comprising 18 family films and 99 of their various target versions, most on DVD, and yielding nearly 800 source-text instances of language-play and thousands of translation solutions.</p><p>The results indicate that especially two sets of factors, among the many that are likely to influence a translation, play a prominent role: the type of the language-play, and the identity and working conditions of the translator. By contrast, the mode of translation (dubbing vs. subtitling), the target language, or the general properties of the films, could not be shown to have a sizeable impact.</p>

Language-play can briefly be described as the wilful manipulation of the peculiarities of a linguistic system in a way that draws attention to these peculiarities themselves, thereby causing a communicative and cognitive effect that goes beyond the conveyance of propositional meaning. Among the various phenomena answering this description are the different kinds of puns, but also more strictly form-based manipulations such as rhymes and alliteration, in addition to a host of other, sometimes even fuzzier, subcategories. Due to its unusual nature, and especially its frequently strong dependence on the idiosyncrasies of a particular language, language-play can generally be assumed to constitute a significant challenge in a translation context. Furthermore, given its non-negligible effects, the translator is not free to simply ignore the language-play (provided it has been recognized as such in the first place) without having taken an active stance on its treatment. However, the difficulties in finding a suitable target-language solution are possibly exacerbated if the source text is a complex multimedia product such as a film, the translation of which, normally in the form of dubbing or subtitling, is subject to additional constraints. In view of these intricacies, it has been the aim of this study to analyze and measure how language-play in film has actually been treated in authentic dubbing and subtitle versions. As a prerequisite, the concept of language-play has been elaborated on, and more than a dozen subcategories have been described, developed, and employed. For the purpose of carrying out a meaningful analysis of the dubbing and subtitling of language-play, a corpus has been compiled, comprising 18 family films and 99 of their various target versions, most on DVD, and yielding nearly 800 source-text instances of language-play and thousands of translation solutions. The results indicate that especially two sets of factors, among the many that are likely to influence a translation, play a prominent role: the type of the language-play, and the identity and working conditions of the translator. By contrast, the mode of translation (dubbing vs. subtitling), the target language, or the general properties of the films, could not be shown to have a sizeable impact.

Text in English / This study examines and discovers the translation strategies as employed in the Sesotho sa Leboa translation of Mandela's Long Walk to Freedom. Mandela's Long Walk to Freedom was published in 1995 and was translated into Sesotho sa Leboa by S M Serudu in 2001. The Sesotho sa Leboa translation of the life history of Mandela, Leetotelele go ya Tokologong (Long Walk to Freedom) is one of the four completed translations to date that form part of the assignment to translate the original text into the official languages of South Africa. The aim of this study is to investigate the translation strategies used to transfer linguistic and cultural items in the translation of Mandela's autobiography. The study is mainly qualitative and examines the strategies employed by Serudu. For data collection, the source and target texts of Mandela's Long Walk to Freedom as well as the semi-structured face-to-face interviews with four translators into Sesotho sa Leboa, isiZulu, isiXhosa and Afrikaans were used. The study is based on the Descriptive Translation Studies Theory, Bassnett and Lefevere's "cultural turn" as well as the domestication and foreignization strategies. In this case, it investigates if Serudu has domesticated and/or foreignized his translation. The findings revealed that Serudu domesticated his translation by using metaphors, similes, personification, euphemism, hyperbole, proverbs, idioms and the use of descriptive words. Foreignization was also found when the translator dealt with the borrowing and loaning of words where most of the concepts were transferred, Sotholised, retained and transferred, as they were, especially culture specific items. / African Languages / D. Litt. et Phil. (African Languages)

Digital technologies are constantly changing our daily lives, including the way scholars work. As a result, also Classics is currently subject to constant change. Greek and Latin sources are becoming available in a digital format. The result is that Classical texts are searchable and can be provided with metadata and analyzed to find specific structures. An important keyword in this new scholarly environment is “networking”, because there is a great potential for Classical Philology to collaborate with the Digital Humanities in creating useful tools for textual work. During our workshop scholars who represent several academic disciplines and institutions gathered to talk about their projects. We invited Digital Humanists who have experience with specific issues in Classical Philology and who presented methods and outcomes of their research. In order to enable intensive and efficient work concerning various topics and projects, the workshop was aimed at philologists whose research interests focus on specific phenomena of ancient texts (e.g., similes or quotations). The challenge of extracting and annotating textual data like similes and text reuses poses the same type of practical philological problems to Classicists. Therefore, the workshop provided insight in two main ways: First, in an introductory theoretical section, DH experts presented keynote lectures on specific topics; second, the focus of the workshop was to discuss project ideas with DH experts to explore and explain possibilities for digital implementation, and ideally to offer a platform for potential cooperation. The focus was explicitly on working together to explore ideas and challenges, based also on concrete practical examples. As a result of the workshop, some of the participants agreed on publishing online their abstracts and slides in order to share them with the community of Classicists and Digital Humanists. The publication has been made possible thanks to the generous support of the Open Science Office of the Library of the University of Leipzig.

During our workshop scholars who represent several academic disciplines and institutions gathered to talk about their projects. We invited Digital Humanists who have experience with specific issues in Classical Philology and who presented methods and outcomes of their research.