[pt] Diante do papel cada vez mais importante desempenhado pelas ferramentas de auxílio à tradução no trabalho de tradutores profissionais, a discussão das conseqüências de sua utilização assume especial interesse. O presente estudo concentra-se em apenas uma dessas ferramentas: os sistemas de memória de tradução, que surgiram prometendo ganhos de produtividade, maior consistência e economia. O objetivo é analisar os principais fatores que levam a problemas de qualidade nesses sistemas e apresentar sugestões para melhorar o controle da qualidade realizado, ressaltando a necessidade de manutenção e revisão das memórias para que realmente sirvam ao propósito de serem ferramentas e não empecilhos para o tradutor. Essas questões serão analisadas no contexto do mercado de localização de software, segmento em que as memórias de tradução são amplamente utilizadas, à luz das abordagens contemporâneas sobre qualidade da tradução. / [en] Considering the increasingly important role played by computer-aided translation tools in the work of professional translators, the discussion about their use gains special interest. This study focuses on only one of these tools: translation memory systems, which were developed to ensure productivity gains, more consistency and cost savings. The objective is to analyze the major factors leading to quality problems in such systems and to suggest ways to enhance quality control, emphasizing the need for updating and reviewing the translation memories so that they can actually serve as translation aids rather than handicaps. These issues will be analyzed in the context of the software localization market, a segment in which translation memories are widely used, in the light of contemporary approaches to translation quality assessment.

In translation studies, the short story cycle has been largely overlooked as an object of study in prose translation. This thesis serves as a case study on the practice of translating the short story cycle, using my translation of Suzanne Myre’s 2007 short story collection Mises à mort as a paradigm. The thesis comprises four sections: the first is devoted to a discussion of the short story cycle, a modernist form of the short story collection. It is a hybrid subgenre, balancing elements of both the traditional short story collection, characterized by heterogeneity, and the novel, characterized by homogeneity. In this first section, I examine a few definitions of the cycle, then I discuss the subgenre according to a four-part criteria established by Gerald Lynch: ‘character,’ ‘place,’ ‘theme’ and ‘style or tone.’ In the second section, I provide an analysis of Mises à mort within the framework of short story cycle criteria; an examination of the characters, setting, overarching themes and stylistic parallels serves to demonstrate how and why I ultimately interpreted the collection as a short story cycle. The third section is my complete translation of the work. In the fourth and final section, I discuss what implications my interpretation of Mises à mort as a cycle had for my translation thereof, and what unique challenges it presented. I compare my first draft, produced in the mindset that I was translating a traditional collection, to my final draft, revised to accommodate the cohesiveness of the work. This thesis serves to demonstrate how a translator can accommodate for the dual nature of the short story cycle, simultaneously maintaining the discreteness and interconnectedness of the stories.

In December 2010, the National Post published an article discussing the rather costly enterprise of state-sanctioned official bilingualism in Canada. According to statistics provided by the Fraser Institute (2006), translation and interpretation represented 15% of the total federal government budget spending allocated to bilingualism, a cost that many Canadian commentators deemed “unnecessary.” Shifting demographics and diverse immigration flows (Census data, 2011) are also having a significant impact on Canada’s linguistic landscape, forcing policy-makers to consider whether the Official Languages Act (and thus translation) would benefit from innovative reform. Using this contextual backdrop as its main impetus, this dissertation argues that translation, as defined and practiced in Canada, needs to be broadened for a number of reasons, including accounting for technological advancements, for the increasingly web-based dissemination of translated materials, and for the reality of evolving markets. Tymoczko (2008) has championed *translation as an open-cluster concept, a theoretical perspective that has found resonance in this project, given that the notion is the central premise upon which three additional conceptualizations (i.e. *translation sub-types) are founded. The first sub-type, intersemiotic translation, is explained at length and constitutes the focal point of the project. Instead of using a Peircean approach, the dissertation develops a model based on visual social semiotics in order to facilitate the application of intersemiotic translation in not only professional settings but research contexts as well. The second sub-type, cultural translation, builds on insights from the 1980s and 90s cultural turn, with a specific focus on the relationship between the representation of Canadian micro-cultures and intersemiotic translation. In other words, the effects of these translation processes will also be analyzed. Finally, civic translation is proposed as a third *translation sub-type, which offers a potential framework for multicultural management in democratic countries facing the challenges of globalization. A case study using content from the 2006-2008 debate surrounding reasonable accommodation—with specific attention given to the activities of the Consultation Commission on Accommodation Practices Related to Cultural Differences (also known as the Bouchard-Taylor Commission)—is woven through each chapter, illustrating all three sub-types of *translation. The case study provides compelling examples of why translation practices in Canada should move beyond verbal and state-sanctioned definitions. The novelty and contribution of this research project are manifold: it transcends traditional verbocentric approaches in TS; it responds to other scholars’ claims that there is a lack of case studies that involve text-image relationships and/or explore the role of translation in the news media in a Canadian context; it explores multimodality and its significance for TS in an era of increased Web presence; it showcases a Canadian case study; and, finally, it explores cultural representation through a translation-based framework.

A two-way bond between translation and migration has appeared in the most recent texts in the social sciences and humanities: this connection between the two is exemplified by the mobility metaphor, which considers both practices as journeys across cultural, linguistic and geographical borders. Among the different ways this mobility metaphor can be studied, two particular areas of investigation are of interest for this research: firstly, migrant writing, a literary genre shaped from the increasing migratory movements worldwide; the second area of interest is literary translation, the activity that shapes the way these narratives are disseminated beyond the linguistic borders they were produced in. My investigation into the role of literary translation in the construction and circulation of a migrant discourse starts with the claim that writing and translation in itinerant contexts are driven by, and participate in, the idea of the journey: an interlingual and intercultural flow regulated by social/economic/artistic constraints, a movement in which the migrant experience is ‘translated’ in writing and then ‘migrated’ across languages and spaces. The present analysis focuses on the representative case study of migrant narratives by Canadian writers of Italian descent: their shared reflections on the themes of nostalgia and the mythical search for roots, together with a set of specific linguistic devices – hybridity, juxtaposition of languages, idiolects and registers – create a distinctive literary migrant discourse, that of the return to the land of origin. Guided primarily by the theoretical framework of Cultural Studies, the first part of this work seeks to illustrate how thematic and linguistic elements contribute to the construction of a homecoming discourse in original migrant narratives, and how this relates to the translation practice. Subsequently, the analysis moves to the examination of how these motives are reproduced in the translated texts, and what is/are the key rationale/s behind the translation of this type of works. Ultimately, my research takes a sociologically informed interest in the influence of translation and its agents in endorsing and/or manipulating this rationale in the receiving culture. In fact, this research aims to represent equally the human and cultural-linguistic aspects that affect these translational journeys, concentrating, firstly, on the actors (authors and literary translators) and the social and artistic environments that surround the production of both the source and target texts and, subsequently, on the texts themselves.

ABSTRACT The modern fable differs from the classic fable in terms of style, form, and content. Translating the modern fable likewise diverges from translating the classic fable in terms of the concerns that a translator might have along the way. This thesis serves as a case study on the practice of translating the modern fable by using On Beş Köpek, my Turkish translation of André Alexis's Giller Prize-winning 2015 modern fable, Fifteen Dogs, as a paradigm. This thesis is built upon six chapters, the first and the last of which are designed to be introductory and conclusive respectively. In the second chapter, the apologue/fable is defined and a historical review is provided from Aesop's fables to the modern fable. The third chapter provides an analysis of the source text, i.e. Fifteen Dogs, by mainly discussing the “fabulous” characteristics it displays. The fourth chapter is my complete Turkish translation, i.e. On Beş Köpek, whereas the fifth chapter presents an analysis of my Turkish translation within the framework of Gideon Toury's descriptive methodology. RÉSUMÉ La fable moderne diffère de la fable classique en matière de style, de forme et de contenu. La traduction de la fable moderne se distingue donc également de la traduction de la fable classique quant aux préoccupations du traducteur au moment de traduire celle-ci. Cette thèse sert d’étude de cas relative à la pratique de la traduction de la fable moderne en proposant On Beş Köpek, ma traduction en turc de Fifteen Dogs (la fable moderne et récipiendaire du prix Giller qu’André Alexis a écrite en 2015) comme exemple de paradigme. Cette thèse compte six chapitres, dont le premier et le dernier agissent respectivement comme introduction et conclusion. Dans le second chapitre, l'apologue/la fable est définie, et un survol historique d'Ésope à la fable moderne est ensuite offert. Le troisième chapitre fournit une analyse du texte source – Fifteen Dogs – traitant principalement des caractéristiques «fabuleuses» qu'il contient. Le quatrième chapitre renferme ma traduction complète en turc – On Beş Köpek – tandis que le cinquième chapitre présente une analyse de ma traduction suivant le cadre de méthodologie descriptive proposé par Gideon Toury.

The English-language translations of Jorge Luis Borges’s Spanish-language works undertaken by the author and Norman Di Giovanni went above and beyond what is generally perceived as acceptable in traditional Western practices. Their work, together with Borges’s thoughts on translation itself, garnered criticism from within Western Translation Studies for its rejection of the status of the original text and the blurring of the distinction between author and translator. Yet the pair’s actions and Borges’s views on translation cease to appear scandalous under the light of Buddhist philosophy, particularly through the use of the Buddhist principles that all phenomena are impermanent and interdependent. This thesis will seek to use these ideas to legitimize the actions of Borges and Di Giovanni. To do so, it will trace the history of opposing and convergent theories from Western philosophy and describe our Buddhist concepts in detail. In order to better understand Borges, it will examine the array of philosophies that influenced the writer and how they both align themselves and differ from Buddhist ideas. This thesis will end by directly applying impermanence and interdependence to the translation practices of Borges and Di Giovanni and considering what potential effect legitimacy for such practices would have on translation overall.

This research aims to understand self-translation as a postcolonial, social, political, cultural and linguistic phenomenon and it focuses on how it communicates a hybrid transcultural identity that not only challenges the monolingual literary canons and concepts of national homogeneous identities, but also subverts to patriarchal society. Thus, I understand self-translation as a mean of empowerment and contestation. The cases under study are Puerto Rican writers Rosario Ferré and Esmeralda Santiago, and their novels The House on the Lagoon and América’s Dream, written in English and translated into Spanish by the authors themselves. I believe that Rosario Ferré and Esmeralda Santiago are representative of a group of writers, artists and intellectuals who through their work originated from the island and from the U.S. Diaspora, have aimed to give voice to a Puerto Rican postcolonial hybrid identity that has been silenced until recently. Therefore, they disrupt the official national cultural and linguistic discourse about the Puerto Rican identity that has been weaved by the Spanish language in opposition to U.S. colonialist attempts of linguistic and cultural assimilation. This dissertation is located in the intersection between the fields of comparative literature, translation, cultural, gender and postcolonial studies. The question that guides this research is: Is self-translation in the case of Puerto Rico, a result of cultural hybridity in Puerto Rico’s postcolonial context?Therefore, this is a multidisciplinary research project that integrates elements from the humanities and the social sciences. Methodologically, it integrates qualitative and quantitative approaches. Hence, hybridity is embedded in this research not only because it discusses English and Spanish writing, but because it includes textual analysis, content analysis and statistical analysis. The main finding is the deep conection between socio-political context, language, culture, identity, power and translation that supports the idea that self-translation is a postcolonial act, which in the case of Puerto Rico is strongly related to hybridity as an everyday practice of identity affirmation.

This study consists of a comparative analysis of two novels (Une si longue lettre and Un chant écarlate) written by the famous female African writer Mariama Bâ and their English translations (So long a letter and Scarlet song) by Modupe Bodé-Thomas and Dorothy Blair. Mariama Bâ’s texts shed light on the different ways in which African women are oppressed by tradition and religion deeply rooted in a patriarchal and post-colonial society. The story of her own life serves as a basis for an effective analysis of both novels in order to determine the extent of her Feminist orientation in her texts, as well as to evaluate the possibilities of female emancipation based on the choices made by her female characters. This study further examines the translation strategies present in the English rendition of Bâ’s novels. Translation involves conveying a message from a source to a target text in a manner that expresses the same message as the original. It also bridges the language and cultural barrier by facilitating understanding between different worlds. In translating Bâ’s novels, the aim is to respect and convey her message of Feminism to an international non-Francophone audience. In order to evaluate whether the translations have achieved the objective of conveying her message, this study will attempt to analyse the translational choices made by each translator as well as to ascertain the success of those choices. This analysis is guided by existing Feminist translation theory. Emphasis is placed on Feminism in general and African Feminism in particular to ascertain Bâ’s own Feminist orientation and how this impacted her writing. This is done firstly by giving a brief synopsis of the two novels. Subsequently, traces of Feminism are identified in both novels, followed by an analysis of the source texts. This is done by applying descriptive models outlined within the framework of descriptive translation studies to compare the source and target texts. This study reveals that despite the many translation strategies that are available, literal/word for word and semantic translations are predominant in the English renditions of Bâ’s novels. The use of these strategies differed in the two translations in question. While Bodé-Thomas preferred a more traditional, literal/word for word translation in her rendition of Une si longue lettre in order to maintain the simplicity of the text and preserve the African aesthetic which is the essence and distinguishing feature of Bâ’s work, Blair opted for a semantic translation which turned out to be an important strategy in her English rendition of Un chant écarlate. Taking the different translational strategies used by Modupe Bodé-Thomas and Dorothy Blair as a case in point, this study proposes that since for the most part, Mariama Bâ’s writing in a European language (French) captures the African content and form and portrays her Feminist beliefs in both her novels, the job of both translators is simply to carry over the same African content and form from the source language to the target language in a similar manner that expresses Bâ’s Feminist beliefs. Key words: Mariama Bâ, Feminism, African Feminism, Feminist translation, descriptive translation studies, post-colonialism, translation studies, autobiography, Dorothy Blair, Modupe Bodé-Thomas, source text, target text, Une si longue lettre, Un chant écarlate, Scarlet song, So long a letter / Mini Dissertation (MA)--University of Pretoria, 2015. / Modern European Languages / MA / Unrestricted

Baudelaire dedicou-se a Mon coeur mis à nu de 1859 a 1865. Tendo no horizonte as Confessions de Jean-Jacques Rousseau e o projeto nunca realizado My heart laid bare, de Edgar Allan Poe (de onde, aliás, o título Mon coeur mis à nu), Baudelaire tem consciência de que a realização do seu projeto não será fácil, expressando a dificuldade, e por vezes a própria sensação de impossibilidade, em muitas das suas cartas pessoais. Baudelaire morre em 1867, não concluindo o projeto. O que deixa são notas, planos de texto, parágrafos avulsos, trechos a serem incluídos em textos futuros, listas de assuntos a tratar. Poulet-Malassis, amigo e principal editor de Baudelaire, fica encarregado de ordenar e encadernar os manuscritos referentes a Mon coeur mis à nu. Já a primeira publicação integral ficará a cargo de Eugène Crépet, que escolhe chamar o texto, se é texto, de Journaux intimes, interpretando (erroneamente) um projeto literário, ou, em certo sentido, um texto literário em processo de escritura, como diário. No Brasil, dispomos de quatro (re)traduções: Meu coração desnudado (Nova Fronteira, 1981), de Aurélio Buarque de Holanda; Meu coração a nu (Nova Aguilar, 1995), de Fernando Guerreiro; Meu coração desnudado (Autêntica, 2009), de Tomaz Tadeu; e Diários íntimos (Caminho de Dentro, 2013), de Jonas Tenfen. Este trabalho tem como objetivo central a análise dessas (re)traduções. Pretende-se discutir ainda a noção de retradução nos estudos da tradução, percorrendo autores como Berman (1990), Gambier (1994; 2012), Ladmiral (2012) etc.; e revisar a crítica literária sobre Mon coeur mis à nu, buscando problematizar tanto a postura de enxergá-lo como diário íntimo quanto a tendência de encerrá-lo em uma poética do rascunho (DIDIER, 1973) relativamente estanque e estável. Compreendendo a retradução como um espaço ético (CARDOZO, 2007) de relações (tensas) entre modos de ler e dizer o texto, buscamos identificar as posturas tradutórias em jogo em cada (re)tradução brasileira, isto é, de que maneira entendem e dão a ver Mon coeur mis à nu no sistema literário brasileiro. Para isso, recorremos não somente às próprias (re)traduções, mas também ao material paratextual (RISTERUCCI-ROUDNICKY, 2008), lugares em que os tradutores apresentam mais explicitamente seus entendimentos não apenas do texto em tradução, mas do próprio ato tradutório. Identificando em Mon coeur mis à nu uma textualidade altamente movente, fundamentada em tensões insolúveis (projeto e obra; processo e texto), percebemos que as (re)traduções brasileiras atenuam, ou mesmo apagam, essas tensões, fazendo escolhas tradutórias e editoriais que homogeneízam o texto, suprimem suas variabilidades e virtualidades e inscrevem Mon coeur mis à nu na memória do diário íntimo, da escritura puramente confessional, cujo valor reside mais no pessoal do que nas suas tensões e contradições, latências e potencialidades. Apontamos, como desdobramento, a necessidade de uma (re)tradução brasileira que se baseie exatamente na dimensão processual e variável de Mon coeur mis à nu, não na busca de restituir um suposto processo cronológico, mas na tentativa de construir, via tradução, um espaço escritural (GALÍNDEZ-JORGE, 2009) em que o leitor possa ser confrontado exatamente com esse assombramento e com essa monstruosidade (GALÍNDEZ-JORGE, 2010) que estão (em latência) na base mesma de Mon coeur mis à nu. / Baudelaire dedicated himself to Mon coeur mis à nu from 1859 until 1865. With the horizons of Jean-Jacques Rousseaus Confessions and the always unconcluded Edgard Allan Poes project My heart laid bare (from where Mon coeur mis à nus title comes, by the way), Baudelaire is aware that the accomplishment of his own project will not be easy, and he expresses it, sometimes, by writing down the very sense of impossibility in many of his personal letters. Baudelaire dies in 1867, leaving his project unconcluded. What remains are notes, scraps, unattached paragraphs, sequences to be included in future texts, subject lists do be dealed with. Poulet-Malassis, Baudelaires friend and main editor, was in charge of giving order to and binding the manuscripts referring Mon coeur mis à nu. The first full edition, however, was treated by Eugène Crépet, that chooses to call the text, if so, Journaux intimes, interpreting (mistakenly) it as a literary project or, in a certain way, a literary text in progress of being written, like a journal. In Brazil, we are offered with four (re)translations: Meu coração desnudado (Nova Fronteira, 1981), by Aurélio Buarque de Holanda; Meu coração a nu (Nova Aguilar, 1995), by Fernando Guerreiro; Meu coração desnudado (Autêntica, 2009), by Tomaz Tadeu; and Diários íntimos (Caminho de Dentro, 2013), by Jonas Tenfen. The present work aims mainly to analyze these (re)translations. It is also intended to (a) discuss the notion of retranslation in translation studies, by means of authors such as Berman (1990), Gambier (1994; 2012), Ladmiral (2012) etc., and (b) to review the literary criticism on Mon coeur mis à nu, trying to question both the attitude of interpreting it as an intimate journal and the tendency to categorizing it definitely as a draft poetics (DIDIER, 1973), relatively impervious and stable. If retranslation is believed to be an ethical space (CARDOZO, 2007) of (tense) relations among ways of reading and saying the text, we seek to identify the translation attitudes at stake in each Brazilian (re)translation, that is, answering in which way they understand and reveal Mon coeur mis à nu at the Brazilian literary system. For this purpose, we employ not only (re)translations themselves, but also paratextual materials (RISTERUCCI-ROUDNICKY, 2008), places where translators present more explicitly their comprehension of the translation in progress, but also of the translational gesture itself. Identifying in Mon coeur mis à nu a highly moving textuality, based in unsolvable tensions (project and work; process and text), we do realize that Brazilian (re)translations mitigate, or even erase, these tensions, making translational and editorial choices that homogenize the text, suppress their variabilities and virtualities, and inscribe Mon coeur mis à nu in the memory of the intimate journals, of the purely confessional writings, whose value resides more in the personal aspect than in its tensions and contradictions, latencies and potentialities. As an unfolding of this analysis, we point out the need of a Brazilian (re)translation based exactly on the procedural and variable dimension of Mon coeur mis à nu, not in quest of restoring an allegedly chronological process, but as an attempt of building, through translation, a scriptural space (GALÍNDEZ-JORGE, 2009) in which the reader can be confronted precisely with this haunting and with this monstrosity (GALÍNDEZ-JORGE, 2010) that are (latently) in Mon coeur mis à nu basis itself.

The loss in translation between languages has long been debated, and a current issue within Translation Studies is that of the cultural aspect. Using two opposing concepts by Lawrence Venuti; domestication that is used to assimilate the source culture into the target culture, and foreignization that is used to preserve and highlight the foreign culture in the target text, this paper examines how culture is transferred in literary translation between English and Swedish. In order to establish which strategies are used, data consisting of 30 passages from the American novel Dead Until Dark (2001), and the corresponding passages in two different Swedish translations of it, is analysed linguistically. While the first translation is found to show no marked preference for either strategy, the second translation uses domestication thrice as often as foreignization. However, both translations use domestication in 9 out of 10 examples in the category ‘Figurative use of language’, which suggests a marked difficulty in preserving the source culture while translating metaphorical language. The analysis also shows a difference in the way the strategies are employed, suggesting a further division of the strategies into ‘passive’ and ‘active’. The author calls for further research on the effect of such a division.