Thesis (MPhil)-- Stellenbosch University, 2014. / ENGLISH ABSTRACT: This study investigates subtitling in 7de Laan, comparing episodes from 2007 to episodes from 2010 with a focus on figurative language. It is a quantitative, descriptive study and aims to determine the overall adequacy or acceptability of the subtitles, the translation strategies used, how figurative language and language varieties are translated and compares findings from 2007 to those of 2010 to establish whether there has been a change in approach over this period. The source text, 7de Laan, is discussed in Chapter 1, which also outlines how the study will proceed, the research problem and the research questions. Chapters 2 and 3 are the literature review of the relevant theories. Chapter 2 covers Descriptive Translation Studies and the translation of figurative language. The challenges particular to subtitling, specifically the constraints of the medium, are discussed in Chapter 3. The following two chapters are the analysis and each begins with the methodology used for that analysis. Chapter 4 is a macrolevel analysis of the corpus and determines the acceptability/adequacy of the subtitles, their governing translation norms and analyses the translation strategies used. More specific questions are answered in Chapter 5, which analyses the translation of figurative language, the representation of language varieties in the subtitles and the influence catering for a hearing-impaired audience has on translation decisions. The findings indicate that the subtitles of 7de Laan are mostly acceptable and that acceptability increases in 2010. The translation strategies used and their frequency of usage are similar over the years. However, there are slight changes: in 2010 there is less literal translation, more omission and fewer figurative-specific translation strategies are used. The findings further show that there is less figurative language in the subtitles in 2010. Additionally, there is a tendency of levelling out figurative language in both years which increases in 2010. The analysis of language varieties indicates that for sociolects, age markers influence the subtitles more than race markers do. Idiolects are rendered but how much of an idiolect is rendered depends on its markers. The analysis also finds that subtitling for hearing-impaired audiences is a significant factor in the translation process over and above the spatiotemporal constraint of subtitling. / AFRIKAANSE OPSOMMING: Hierdie studie ondersoek die onderskrifte van 7de Laan. Dit vergelyk episodes van 2007 met episodes van 2010 en fokus op figuurlike taalgebruik. Die ondersoek is kwantitatief en beskrywend en wil die algehele geskiktheid (adequacy) of aanvaarbaarheid (acceptability) van die onderskrifte vasstel, asook die vertaalstrategieë wat gebruik is en die wyse waarop figuurlike taal en taalvariëteite vertaal word. Die bevindinge van 2007 word vergelyk met dié van 2010 om vas te stel of die vertaalbenadering in die tydperk verander het. Die bronteks, 7de Laan, word in hoofstuk 1 bespreek, wat ‘n oorsig gee oor hoe die studie verloop, die navorsingsprobleem en die navorsingsvrae. Hoofstuk 2 en 3 is die literatuurstudie van die relevante teorieë. Hoofstuk 2 dek beskrywende vertaalstudies (Descriptive Translation Studies) en die vertaling van figuurlike taal. Die probleem eie aan onderskrifte, veral die beperkings in die vertaalproses, word in hoofstuk 3 bespreek. Die volgende twee hoofstukke bestaan uit die ontleding en elke hoofstuk begin met die metodologie wat gebruik is vir daardie ontleding. Hoofstuk 4 is ‘n makrovlakontleding van die korpus en bepaal die geskiktheid/ aanvaarbaarheid van die onderskrifte, oorheersende norme en ontleed die vertaalstrategieë wat gebruik is. Meer spesifieke vrae word in hoofstuk 5 beantwoord, wat betref die vertaling van figuurlike taal, die oordra van taalvariëteite in die onderskrifte en die invloed van die inagneming van gehoorgestremde kykers op vertaalbesluite. Die bevindinge dui aan dat die onderskrifte van 7de Laan meestal aanvaarbaar is en dat aanvaarbaarheid in 2010 toegeneem het. Die vertaalstrategieë en die frekwensie van die gebruik daarvan het oor die jare nie veel verander nie. Daar is egter klein veranderings: in 2010 is daar minder letterlike vertalings, meer weglatings en minder vertaalstrategieë wat spesifiek op figuurlike taalgebruik gemik is. Die bevindings dui ook aan dat daar minder figuurlike taal in die 2010-onderskrifte is. Die ontleding van taalvariëteite toon dat, ten opsigte van sosiolekte, ouderdommerkers ‘n groter invloed op onderskrifte het as rasmerkers. Idiolekte word wel verteenwoordig, maar die mate daarvan word deur die idiolek se merkers bepaal. Die ontleding dui ook aan dat onderskrifte wat gerig is op gehoorgestremde kykers, ‘n groot faktor in die vertaalproses is, benewens die tydruimtelike beperking van onderskrifte as sodanig.

by Li Yiu-Ming. / Thesis (M.B.A.)--Chinese University of Hong Kong, 1989. / Bibliography: leaves 82-84.

Kong Pui Ling, Charlotte. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2001. / Includes bibliographical references (leaves 82-85). / Abstracts in English and Chinese. / Abstract --- p.ii / Chapter Chapter 1: --- Introduction --- p.1 / Chapter Chapter 2: --- Literature Review --- p.7 / Chapter Chapter 3: --- Methodology --- p.21 / Chapter Chapter 4: --- Manifestations of Childhood in Cartoons --- p.27 / Chapter Chapter 5: --- Negotiating Childhood --- p.48 / References --- p.82 / Chapter Appendix I: --- Interviewees' Families Profile --- p.85 / Chapter Appendix II: --- Interview Questions --- p.88 / Chapter Appendix III: --- "List of cartoons have been broadcast on TVB Jade, ATV Home, TVB Pearl and ATV Home from August, 1998 to January 1999 " --- p.89

電視模式（TV formats）在全球的跨文化旅行，及其如何本土化以適應在地社會政經情境，成為值得學界關注和研究的主題。作為對這一主題的回應，本文致力於研究《醜女無敵》電視劇--“醜女貝蒂“模式在中國的本土化。借由對該劇文本、生產和觀眾解讀的綜合分析，本研究從宏觀上探索符號形式與中國社會變遷的關係。具體而言，研究者聚焦於以下研究問題：在當前電視模式貿易、克隆和本土化的背景下，中國電視劇《醜女無敵》與美國電視劇《醜女貝蒂》有何異同？在中華人民共和國這一特定社會情境下，《醜女無敵》受到了怎樣的政治、經濟限制？中國觀眾如何解讀《醜女無敵》電視劇？《醜女無敵》受歡迎的原因所在，及該劇表徵了怎樣的中國現代性？ / 為回答以上問題，研究者採用了多種定質方法，即文本分析、民族志、焦點小組、檔案分析和深度訪談。其研究發現《醜女無敵》作為混雜性文本，兼有西方現代性元素和獨特的中國性。《醜女無敵》的生產受到了中國政經情境的極大限制。經濟力量有中心主導、系統地控制著生產過程。而政治力量的控制卻是散漫於整個生產者社群，并呈現去中心的狀態。中國觀眾在解讀《醜女無敵》時主要有两種模式：霸權式解讀与協商式解讀。而对抗式解读却在该剧的解读模式中呈现缺失状态。持有霸權式解讀的觀眾作為主流在諸多方面與權力中心一致，從而形成霸權效應。 / 《醜女無敵》可歸類為本研究所析霸權文本，并表徵和複製了一種中國現代（Chinese modernity）。轄制於党國，中國現代性在其三大結構性維度上都呈現高度的混雜性。就中國電視業發展趨勢而言，研究者認為全球電視模式在中國將愈加繁榮，因其有極大潛質成為霸權文本，繼而服務于權力中心。 / With the increasing transcultural flow of television formats, the localization of these formats to fit various socio-political contexts is worthy of academic scrutiny. This is a case study on the TV drama Ugly Wudi (Chounv Wudi), the Chinese version of the global Ugly Betty format. Exploring textuality, production, and reception simultaneously, my dissertation sheds light on the relationship between symbolic forms and social transition in China. Specifically speaking, the research questions initiating this study are as follows: Under current TV format cloning, trading, and borrowing, what are the similarities and differences between the Chinese Ugly Wudi and the American Ugly Betty? In the specific context of the People’s Republic of China, what are the political and economic forces that constrain the production of Ugly Wudi? What are the audience interpretations of Ugly Wudi? What accounts for Ugly Wudi’s popularity, and to what extent does it reflect a Chinese version of modernity? / Multiple qualitative methods have been applied by the researcher to explicate the research questions, including textual analysis, ethnography, focus groups, archival analysis, and in-depth interviews. It is found that Ugly Wudi is a hybridized text that combines elements of Western modernity with Chinese particularities. As for Wudi’s production, there are significant constraints arising from China’s political economy. While the economic systematically controls the production with a center, the political is a decentered control pervasively conditioning the production community. Two different readings of the Wudi show are found, namely, the hegemonic reading and the negotiated reading; while the resistant reading is absent in the show’s viewership. The hegemonic audience forms the majority, coinciding with the authorities in many respects, which shows a hegemonic effect. / Ugly Wudi is a hegemonic text that can best represent and reproduce Chinese modernity. Charted by the party-state for legitimization, Chinese modernity shows a high degree of hybridization in its three structural dimensions. The researcher contends that television formatting will be a trend in the Chinese TV industry, as it has great potential to create hegemonic texts that serve the power center. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Detailed summary in vernacular field only. / Zhang, Xiaoxiao / Thesis (Ph.D.)--Chinese University of Hong Kong, 2012. / Includes bibliographical references (leaves 178-203). / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstract also in Chinese; some appendixes also in Chinese . / Abstract --- p.i / Acknowledgements --- p.iv / Table of Content --- p.viii / Chapter CHAPTER 1 --- INTRODUCTION --- p.1 / Chapter 1.1 --- TV Format: A New Television Phenomenon / Chapter 1.2 --- The Ugly Betty Format: A Global Culture / Chapter 1.3 --- Significance and Contribution / Chapter 1.4 --- Chapter Outline / Chapter CHAPTER 2 --- LITERATURE REVIEW --- p.18 / Chapter 2.1 --- Localization of Global Television Formats / Chapter 2.2 --- Political Economy in Cultural Hybridization / Chapter 2.3 --- TV Formats and Social Transition / Chapter 2.4 --- Previous Studies on the Ugly Betty Format / Chapter 2.5 --- Research Questions / Chapter CHAPTER 3 --- METHODOLOGY --- p.35 / Chapter 3.1 --- Textual Analysis / Chapter 3.2 --- Ethnographic Observation / Chapter 3.3 --- Focus Groups / Chapter 3.4 --- Archival Analysis / Chapter 3.5 --- In-depth Interviews / Chapter CHAPTER 4 --- THEORETICAL FRAMEWORK AND POLITICAL ECONOMY CONTEXT --- p.51 / Chapter 4.1 --- Media and Hegemony / Chapter 4.2 --- Market versus State / Chapter 4.3 --- Market, Politics, and Media Competition in China / Chapter CHAPTER 5 --- THE CHINESE UGLY BETTY: TV CLONING AND LOCAL MODERNITY --- p.87 / Chapter 5.1 --- Contextualizing the Two Versions / Chapter 5.2 --- The Continuity of Modernity in the Ugly Betty Formula / Chapter 5.3 --- Ethnic Invisibility and Gender Normality / Chapter 5.4 --- When the Political and the Market Align / Chapter 5.5 --- Ugliness Is at Fault, Not the State / Chapter CHAPTER 6 --- PRODUCING THE CHINESE UGLY BETTY: DECENTERED POLITICAL AND CENTERED ECONOMIC CONTROLS --- p.114 / Chapter 6.1 --- TV Production in China: Indicator of Dominance / Chapter 6.2 --- Decentered Political Control / Chapter 6.3 --- Centered Economic Control / Chapter 6.4 --- When the Political and the Economic Contradict / Chapter 6.5 --- Television Formats and Hegemony / Chapter CHAPTER 7 --- READING THE LOCALIZED UGLY BETTY: HEGEMONIC OR NEGOTIATED, BUT NOT RESISTANT --- p.140 / Chapter 7.1 --- A Patterned Spectatorship / Chapter 7.2 --- Values Creolization in Contemporary China / Chapter 7.3 --- The Hegemonic Reading / Chapter 7.4 --- The Negotiated Reading / Chapter 7.5 --- The Absence of the Resistant Reading / Chapter 7.6 --- Structured Polysemy in China / Chapter 7.7 --- Invitation from Television Formats / Chapter CHAPTER 8 --- TOWARD CHINESE MODERNITY? --- p.159 / Chapter 8.1 --- Four Texts in the Chinese Mediascape / Chapter 8.2 --- Ugly Wudi as a Hegemonic Text / Chapter 8.3 --- Structural Dimensions of Chinese Modernity / Chapter 8.4 --- Discursive Construction of Chinese Modernity / Chapter 8.5 --- TV Industries in China: Development and Future / REFERENCES --- p.178 / LISTS OF APPENDICES --- p.204 / Chapter Appendix 1 --- Methods Answering Research Questions / Chapter Appendix 2 --- Ethnographic Observation Schedule / Chapter Appendix 3 --- Focus Groups Schedule / Chapter Appendix 4 --- Focus Groups Participants / Chapter Appendix 5 --- Focus Groups Questionnaire / Chapter Appendix 6 --- Outline of Focus Groups Discussion (18 years old and above) / Chapter Appendix 7 --- Outline of Focus Groups Discussion (under 18 years old) / Chapter Appendix 8 --- Interviewees List

Thesis (M.S.)--Florida State University, 2004. / Advisor: Dr. Arthur A. Raney, Florida State University, College of Communication, Dept. of Communication. Title and description from dissertation home page (viewed June 16, 2004). Includes bibliographical references.

This study examined five seminal television series — I Love Lucy, The Dick Van Dyke Show, The Jeffersons, The Cosby Show, and Home Improvement — for episodes of conflict. Those episodes of conflict were then analyzed through thematic analysis. Using Baxter's (1988) relational dialectical tensions as a theoretical framework, the internal tensions present in romantic relationships (i.e., autonomy v. connection, novelty v. predictability, and openness v. closedness) served as themes to organize the data. After identifying the dialectical tensions present in each of the series, the shows were then compared to determine if a shift had occurred in each of the dialectics over time. / Department of Communication Studies

No abstract provided

Thugadh sùil mhionaideach air cleachdadh susbaint le ochdnar cloinne da-chànanaich (aois 3 agus 4) bho dhiofar theaghlaichean stèidhichte ann am Barraigh agus Glaschu. Chaidh sgrùdadh a dhèanamh air dòigh a rinn pàrantan roghainnean a thaobh cànan na susbaint (eadar a' Bheurla agus a' Ghàidhlig) nuair a bha iad a' taghadh susbaint dhan chuid cloinne. Rannsaicheadh mar a bha poileasaidh cànain nan teaghlaichean agus cleachdaidhean susbaint ag obrachadh còmhla. Chaidh leabhraichean-latha susbaint a lìonadh air cleachdaidhean susbaint na cloinne agus chaidh agallamhan a chumail le pàrantan. Tha an rannsachadh a' sealltainn nach do chleachd a' chlann uile susbaint Ghàidhlig uile gu lèir mar a dh'fhaodadh iad agus gun robh diofaran ann eatorra. Chaidh fada a bharrachd susbaint Bheurla na susbaint Ghàidhlig a chleachdadh am measg na cloinne air fad. Chuir cuid de theaghlaichean luach air susbaint mar ghoireas poileasaidh cànain agus iad ga cleachdadh airson cothroman cànain-a-steach sa Ghàidhlig adhbhrachadh agus bha cuid ann nach do chleachd susbaint Ghàidhlig sam bith. Thug iomadh factar buaidh air roghainnean susbaint agus tha na factaran sin air an sgrùdadh. Tha na diofaran a nochd ann an cleachdadh susbaint air an cnuasachadh ann an co-theacsa poileasaidh chànain theaghlaich. Cha robh poileasaidh cànain làidir a thaobh cleachdadh na Gàidhlig a-staigh daonnan a' ciallachadh gun robh susbaint Ghàidhlig air a cleachdadh. Thugadh molaidhean seachad do luchdpoileasaidh cànain agus luchd-poileasaidh nam meadhanan Gàidhlig air leasachaidhean a dh'fhaoidte dèanamh gus cleachdadh susbaint Ghàidhlig a neartachadh.

Iu, Yiu. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2007. / Includes bibliographical references (leaves 163-173). / Abstracts in English and Chinese ; questionnaires also in Chinese. / Abstracts --- p.i / Acknowledgements --- p.iii / Table of Contents --- p.iv / Introduction --- p.1 / Chapter A. --- Objectives and Significance --- p.1 / Chapter B. --- Academic Issues and Literature Review --- p.4 / Chapter C. --- Theories and Methodologies --- p.18 / Chapter D. --- Structure of the Thesis --- p.20 / Chapter Part I: --- The Making of a Seiyu Culture in Japan / Chapter Chapter 1: --- What is Seiyu? --- p.24 / Chapter 1.1 --- Definition of Seiyu --- p.24 / Chapter 1.2 --- Scope of Works --- p.27 / Chapter 1.3 --- Training Institutions and Agencies --- p.32 / Chapter Chapter 2: --- The Historical Development of the Seiyu Profession in Japan --- p.38 / Chapter Part II: --- Cultural and Social Significance of Seiyu Culture / Chapter Chapter 3: --- Seiyu as Art and Industry --- p.56 / Chapter 3.1 --- Internal Factors --- p.58 / Chapter 3.2 --- External Factors --- p.64 / Chapter Chapter 4: --- Cultural and Social Impact of the Seiyu Culture --- p.78 / Chapter 4.1 --- Cultural Impact --- p.78 / Chapter 4.2 --- Social Impact --- p.92 / Chapter Part III: --- Comparative Study on Japanese Seiyu and Hong Kong Voice Artists / Chapter Chapter 5: --- The Popularization of the Japanese Seiyu and Local Voice Artists in Hong Kong --- p.101 / Chapter 5.1 --- Japanese Seiyu Steal the Limelight in Hong Kong --- p.102 / Chapter 5.2 --- Hong Kong Voice Artists Move out from the Backstage --- p.112 / Chapter 5.3 --- The Comparison of the Reception of Japanese Seiyu with That of Local Voice Artists in Hong Kong --- p.117 / Chapter Chapter 6: --- Comparison of the Dubbing Profession between Japan and Hong Kong --- p.123 / Chapter 6.1 --- Structural Differences in Dubbing Profession --- p.126 / Chapter 6.2 --- The Role of Voice Dubbing in Popular Culture --- p.135 / Concluding Analysis --- p.147 / References --- p.163 / Appendix --- p.174 / Chapter I) --- Questionnaire of Seiyu Culture in Hong Kong --- p.174 / Chapter II) --- Sample Interview Questions for Seiyu Fans --- p.177 / Chapter III) --- Sample Interview Questions for Voice Artists --- p.178

Thesis (Ph.D.)--Bowling Green State University, 2007. / Document formatted into pages; contains ix, 186 p. Includes bibliographical references.