Mémoire numérisé par la Division de la gestion de documents et des archives de l'Université de Montréal.

This research is located within the framework of descriptive translation studies and corpus-based contrastive discourse analysis. Modern Translation Studies has growingly taken into account the complexities of culture-specific expressions in literary translation. Conference interpreting setting has paradoxically not been touched upon. Through an empirical case study of the interpretation of Chinese culture-specific expressions in ten Chinese Premier’s Press Conferences, this thesis aims to contribute to a better understanding of interpreting culture-specific expressions in a conference interpreting setting. Methodologically, this thesis integrates the linguistic approach with the culture-oriented approach, empiricism with interpretivism and quantitative with qualitative research. It began with a detailed transcription of ten unrevised press conference video recordings downloaded from Internet. With such transcription, the specialized corpora constituted by the Chinese culture-specific expressions and their interpretations were built and coded innovatively using the four translation strategies converted from the six kernel theories within the theoretical framework of this thesis. Contrastive discourse analysis of the specialized corpora was carried out against such extra-textual resources as the media coverage of the press conference, the lectures given by the government interpreters and so on. Translation norms that reflect the regularities of how the four translation strategies are used were derived from such large-scale case studies and tested against more cases before being qualitatively analyzed to explain why they exist and how they were manifested in the selection of translation strategies in the specialized corpora. This thesis claims contribution to existing literature in terms of theory and methodology. Theoretically, it proposed six translation norms of the use of four translation strategies for the five categories of the Chinese culture-specific expressions in the Chinese Premier’s Press Conferences with a core argument that the interpreters’ selection of translation strategies is subject more to contexts than to their subjectivity, which empirically confirms for the first time Eco-translatology Theory’s central claim that an interpreter selects translation strategies by adapting to contexts. In addition, as a pioneering study on cultural expressions under conference interpreting context, this research increases the explanatory power of relevant translation theories because it spans literary translation and conference interpreting. Methodologically, translation strategies were converted from relevant translation theories and used as descriptive categories for corpus-based contrastive analysis, which constitutes an originality in contrast to previous research that teem with researcher-named strategies and confuse translation strategies with translation methods. Furthermore, this research improves transcription coding and corpus building tactics, making data analysis not only more systematic but also more accessible to readers who do not know both languages.

This thesis deals with the question of how vulgarisms are translated in the context of a literary text. First we sum up the theories of expressivity used in both common and literary communication. We point out the main typological differences between Czech and French as well as the key cultural differences in the perception of expressivity. We define the term 'vulgarism' and try to outline the use of substandard language in both Czech and French literature. In the following chapter Michel Houellebecq, his work and the fundamental traits of his writing style are presented. We also look at the reception of the Czech translation of Houellebecq's novel Les Particules élémentaires. Then we analyse the translation, focusing on the transfer of vulgarisms in order to trace and evaluate the translation method used to convey the vulgar elements of the original work.

The thesis is concerned with the little explored phenomenon of subtitling of live theatre broadcasts. Its aim is to describe the subtitling practice and the outer process of the translation, to determine the translation norms applied in this domain and to monitor reception of the final product. The descriptive thesis explores the translation practice of the NT Live series, which is one of a kind in the Czech Republic. Several case studies help to explore the reception and translation norms. The research makes use of both qualitative methods, such as semi- structured interview and comparative translation analysis, and quantitative methods, such as standardized questionnaire. The results are interpreted with regard to theoretical findings of translation studies in areas related to the subtitling of live theatre broadcasts. The thesis concludes that the client's requirements are minimal and the norms are gradually established by the subtitlers themselves, or adopted from television subtitling practice. Although the live cuing of the subtitles is an inseparable part of the translation process, there is little cooperation between the subtitlers and those who cue subtitles during the broadcast. Concerning reception, the audience is rather satisfied with the subtitles, but it could be advisable to revise...

The topic of this thesis is Play Strindberg (1969), a play by Friedrich Dürrenmatt, which is an adaptation of Strindberg's drama The Dance of Death (1901). The thesis first discusses the context of the play's origin and the reactions to its first showing. It then goes on to analyze nine Czech theatrical productions of Play Strindberg and also one made by the Czech television. The main part of the thesis presents a detailed criticism of two of the drama's translations (1969 and 1989) based on Katharina Reiß' translation analysis model. Both translations meet the requirements for a functional translation. Curriculum vitas of translators Bohumil Černík (*1924) and Jiří Stach (*1930) are also enclosed.

The aim of this Master's thesis is to present the renowned Spanish author Francisco Ayala as a translator and translation theorist. The core of the thesis is then the analysis of Ayala's main writings concerning translation. Moreover, we outline the history of translation and translation studies in Spain and Hispanic America to put Ayala's work into a broader context. We also inquire into other areas of Ayala's interest closely related to translation − publishing, lexicography and professional proofreading. To conclude the thesis, we discuss the general situation of the exiled Spanish translators who worked in Hispanic America during the Franco's regime.

Student Number : 9613926H - MA research report - School of Translators and Interpreters - Faculty of Humanities / This dissertation attempts to offer a contribution to the field of translation by applying the practices of descriptive translation studies to a corpus of Chemistry terms in English and translated into Sepedi in order to establish whether the translation strategies opted for prove successful in promoting Sepedi to be a language for special purposes (LSP). The theoretical framework which is used in this project is the model of Baker (1992) of translation strategies of Descriptive Translation Studies (DTS). DTS is one of the three main branches of Translation Theory (Holmes, 1972). It differs from the other approaches in that it does not offer a set of guidelines which dictate how a translation should be done. Attention was also paid to theories of translation, such as those of Lawrence Venuti (2000) and his concepts of domesticating and foreignising translation in order to establish whether the translators have domesticated or foreignised the text and to what extent? Both strategies are evident in the corpus. This project also focused on the issue of the mother tongue education in the South African context with the emphasis on the perceptions and attitudes of learners and educators towards translated materials. Learners and their educators show some resistance to the use of local African languages, specifically Sepedi as medium of instruction in high schools. Reasons for their resistance against mother tongue education are economic and political. African languages are regarded as “low languages”, languages of inferior status as compared to English and Afrikaans.

Esta pesquisa consiste num estudo das três traduções brasileiras de tiras cômicas de Mafalda, criadas pelo quadrinista argentino Joaquín Salvador Lavado Tejón, o Quino, e se insere em duas das perspectivas dos Estudos Descritivos da Tradução (Holmes, 2000 [1972]): estudos de função (contextos) e de produto (textos). As três traduções foram publicadas em diferentes épocas e conjunturas, a saber: (1) as primeiras traduções das tiras de Mafalda no Brasil, realizadas na década de 1970 e publicadas pela Editora Artenova (RJ); (2) as traduções realizadas por Mouzar Benedito, em 1982, editadas por Henfil e publicadas pela Editora Global (SP); e (3) as traduções realizadas por Monica Stahel e sua equipe de tradutores, em 1991, e publicadas pela Editora Martins Fontes (SP). Investigamos esses contextos de produção e aspectos linguísticos das traduções. Ao entendermos que é inerente à linguagem das histórias em quadrinhos a combinação de elementos verbais e visuais (icônicos e pictóricos), procuramos ter em conta nas análises a anatomia relevante para a tradução (translation-relevant anatomy) proposta por Kaindl (2010), que considera, além do contexto social de produção e dos aspectos linguísticos, também elementos pictóricos e tipográficos. Na perspectiva desse autor, a tradução de histórias em quadrinhos pode ser compreendida, em suas numerosas incidências de manipulação, como um resultado das especificidades de sua tradução, bem como de sua condição social de produção e circulação. Com essas linhas diretoras em mente, estruturamos a dissertação. Num primeiro momento, procuramos identificar os elementos constitutivos da linguagem dos quadrinhos inerentes ao gênero tira cômica, no qual se inserem as tiras de Mafalda. Quanto aos aspectos contextuais, traçamos um panorama da criação das tiras da personagem, situando-a em seu contexto de publicação (suportes e datas de publicação, em relação ao momento histórico vivenciado na Argentina), e apresentamos as traduções brasileiras das tiras de Mafalda, focalizando seu contexto de produção, bem como as pessoas envolvidas nas traduções dessas tiras, isto é, as editoras e os editores que as publicaram, e os tradutores que as realizaram. Quanto ao estudo de produto, com base na taxonomia de procedimentos técnicos de tradução que Aubert (1998) adequou para examinar textos traduzidos e distâncias tradutórias entre pares linguísticos, as modalidades de tradução, estabelecemos quatorze modalidades e analisamos as traduções observando a distribuição dessas modalidades em cada uma, a fim de estabelecer um perfil descritivo e comparativo delas. Por fim, perguntamo-nos sobre possíveis vínculos entre os diferentes perfis linguísticos das traduções e dados de contexto de produção, como o perfil de cada tradutor. A presente pesquisa pretende contribuir para a historiografia da tradução espanhol-português no Brasil, bem como para os estudos descritivos de tradução de histórias em quadrinhos, um hipergênero multimodal cujas especificidades vêm recebendo atenção dentro dos Estudos da Tradução há apenas pouco mais de uma década. / This research consists in a study of three Brazilian translations from Mafalda comic strips, created by the Argentinian cartoonist Joaquín Salvador Lavado Tejón, known by his pen name Quino. The present investigation is inserted in two perspectives of Descriptive Translation Studies (DTS) (Holmes, 2000 [1972]): function-oriented (based in the context) and product-oriented (text-focused). The three translations chosen were published in different periods: (1) during 1970s, when the first version of Mafalda in Portuguese was published in Brazil by Editora Artenova (RJ); (2) in 1982, made by Mouzar Benedito and edited by Henfil, published by Editora Global (SP); and (3) in 1991, made by Monica Stahel and her team of translators and published by Editora Martins Fontes (SP). Our purpose was to investigate the contexts of production and the linguistic aspects of the translations. Since it is inherent to comics the combination of verbal and iconic elements, it was considered the analysis and the anatomy relevant for the translation (translation-relevant anatomy) proposed by Kaindl (2010), which considers more than the social background of this sort of work and the linguistic aspects, the pictorial and typographic elements. According to this author, the cartoon translation should be comprehended as a result of the specificities of each translation and its social conditions of production and circulation. The thesis was structured through these guidelines. In a first moment, it was intended to identify the main elements of comics language, the genre where Mafalda belongs. An overview of the historic and publishing settings of the character was presented. Afterwards, the Brazilian versions are listed, as well as their context of production and the professionals involved in it. To study the results, it was used the taxonomy of technical procedures of translation that Aubert (1998) created to examine translated texts and the translational gaps between linguistic pairs and modalities of translation. We established fourteen modalities and analyzed the comic strips selected observing each one of these categories, in order to establish a descriptive and comparative profile of each text studied. One of our goals is to look for links between different linguistic profiles from the translations, its contexts of production and the profile of each of its translators. We intend to contribute for the historiography of Spanish-Portuguese translations in Brazil and for the translational descriptive studies of cartoons as a multimodal genre, which specific characteristics have received attention in this field of study for not much more than a decade.

O objetivo deste trabalho é demonstrar como as quatro traduções de Watchmen foram influenciadas pelos diferentes estágios de consolidação da graphic novel no sistema de histórias em quadrinhos do Brasil e pela aproximação deste com o sistema literário. Defende-se a ideia que as histórias em quadrinhos constituem seu próprio sistema e que no Brasil as traduções ocupam o centro do sistema, sendo responsáveis pela introdução de novos modelos de narrativas gráficas. A minissérie Watchmen foi lançada nos EUA entre 1986-1987 em 12 volumes pela editora DC, sendo logo depois reunida em um único livro, com o rótulo de graphic novel. No Brasil, Watchmen seguiu um caminho editorial similarcom as traduções refletindo as transformações do mercado nacional de quadrinhos dos últimos trinta anos em direção à consolidação de um público adulto mais exigente e a migração das vendas em bancas para as livrarias, de forma semelhante ao ocorrido nos EUA na década de 1980. Além disso, este estudo demonstra o peculiar papel de autonomia na escolha de estratégias tradutórias desempenhado pelo tradutor de três das versões brasileiras. O corpus deste estudo é composto dos seis números da edição da Editora Abril (1988), dos doze volumes lançados pela mesma editora em 1999, dos quatro livros da edição da Via Lettera (2005-2006) e a da Edição Definitiva lançada pela Panini Books, em 2011. / This study aims to demonstrate how the consolidation stage of the graphic novel in the Brazilian comic system and the relation between the comic system and the literary system influenced the four Brazilian translations of Watchmen. The ideia defended is that comics have their own system, and that translation occupies the center of the system in Brazil, being responsible for introducing new models of graphic narratives. Watchmen was released in the USA from 1986 to 1987 as a 12-issue miniseries by DC Comics, and not long after was collected into a single book under the label of graphic novel. In Brazil, Watchmen has followed a similar publishing path and the translations reflect the transformations of the national comic book market in the last three decades towards establishing a market for adults and more demanding readers, and to migrate sales from news agencies to bookstores, in a similar way to what happened in the US comic market from the 1980s. This study also demonstrates the peculiar autonomy held by the translator regarding to translations strategies in three of the Brazilian editions. The corpus of this study is composed of 6-issues miniseries published by Editora Abril (1988-1989), 12-issues also released by Editora Abril (1999), the 4 books by Via Lettera publishing house (2005-2006) and the Absolute Edition (2011) by Panini Books.

Tendo atuado no meio artístico e intelectual brasileiro do segundo pós-guerra até o fim da década seguinte, o veneziano Ruggero Jacobbi (1920-1981) foi um destacado crítico, tradutor e difusor da literatura brasileira, especialmente do drama e da lírica. A pesquisa procura, na perspectiva dos Estudos Descritivos da Tradução, recorrer ao instrumental da crítica genética aplicado à grandiosa tradução Invenzione di Orfeo, trabalho que lhe teria tomado décadas de dedicação, a partir da obra maior do poeta nordestino Jorge de Lima. O levantamento de documentos em acervos na Itália permitiu a consolidação de um dossiê genético a partir do qual se discute o processo tradutório no bojo da atuação brasilianista de Jacobbi. Os nomes do poeta Murilo Mendes e da filóloga Luciana Stegagno Picchio surgem no estudo como frequentes coadjuvantes deste que talvez tenha sido o empreendimento mais ambicioso do amigo. Antes da reconstituição crítico-genética, no entanto, apresenta-se a fulgurante presença da obra lírica do poeta alagoano no distante país peninsular, desde a primeira figuração por obra de Giuseppe Ungaretti até as investidas exegéticas fundamentais de Stegagno Picchio. Para tanto, por sua vez, apresenta-se e se discute a trajetória geral, brasileira e, depois, brasilianista de Ruggero Jacobbi, com atenção ao legado relativo à lírica nacional, que culmina no objeto maior desta dissertação. Entre a teatralização engajada da Litania dos Pobres de Cruz e Sousa para uma montagem brechtiana apresentada no Teatro Brasileiro de Comédia (TBC) em 1950 e a publicação póstuma do grande exemplo de transcriação, guia-nos o espírito crítico marxista-gramsciano e impuro de um intelectual marcado pelo ecletismo e pela contundência inconformista, formado em meio aos herméticos florentinos da era fascista e movido a refratar sua expressão insone em poesia, em teatro, no cinema, no diário, no ensaio, na crítica, na historiografia literária, na antologia e na tradução. / Since the Venetian Ruggero Jacobbi (1920-1981) acted in the Brazilian artistic and intellectual world from the second postwar until the end of the next decade, he was an important literary critic, translator and diffuser of the Brazilian literature, especially of the drama and lyric poetry. This research aims, in the Descriptive Translation Studies perspective, to use tools from the genetic editing (critique génétique) and apply them to the magnificent translation Invenzione di Orfeo, which work supposedly took some decades of dedication, of the most important work of the Brazilian northeastern poet Jorge de Lima. The process of gathering documents in documentary archives in Italy allowed the make of a genetic dossier, with which it was possible to discuss the translation process, in the Brazilianist works of Jacobbi. The names of the poet Murilo Mendes and of the philologist Luciana Stegagno Picchio appeared in this research because they have shared with Jacobbi the experience of carrying out the most ambitious project of his professional life. Before of the critical-genetic reconstitution, however, there was the brightening glow: the reception of the poetic work of the Alagoan poet in the peninsular country, which includes since the first manifestation made by Giuseppe Ungaretti until the fundamental exegetical attempts of Stegagno Picchio. Before this phase, there was the presentation of the Brazilian and Brazilianist trajectory of Ruggero Jacobbi, and then the discussion on this subject, with special attention to his legacy to the national lyric poetry, which culminated on what, is the main object of this work. In the journey from the political dramatization of Litania dos Pobres (from the poem by Cruz e Sousa) into a Brechtian play presented in the Brazilian Comedy Theater (Teatro Brasileiro de Comédia TBC) in 1950, to the posthumous publication of the great example of transcreation, the guide to us is this impure and marxist-gramscian critic spirit of an intellectual marked by the eclecticism and by the nonconformist force, shaped between the hermetic Florentines of the fascist era, a spirit which was moved to reflect his insomniac expression in the poetry, in the drama, in the filmmaking, in the diaries, in the essays, in the literary criticism, in the literary historiography, in the anthology and in the translation.