In the light of frame semantics, a linguistic sign is understood in terms of frame, which is a structured background of knowledge and experiences. Meanings are thus relativized to frames. With a holistic consideration of interrelated elements such as prototype, context, schema and semantic memory, this meaning theory provides a promising starting point for an integrative theory of translation. Adopting a frame semantic approach, the thesis looks into the mechanism of the translator’s decision-making on meaning transfer in fictional translation. It proposes that a translator’s decisions are generally controlled by the “Proper Scene Principle”, which requires that the translator should ensure that the target reader can generally gain access through the target text (TT) to proper scenes to construct a coherent text world comparable to the one underlying the source text (ST). The principle consists of two maxims, i.e. the Maxim of Relevance and the Maxim of Coherence, of which the former is concerned with the relationship between a ST scene and a TT scene, and the latter, the integrity of the network of scenes evoked by the TT. To test the validity of the Proper Scene Principle, a detailed model of text comprehension is delineated, which specifies the progressive path of comprehension from individual semantic structures to a holistic text world, taking into account such factors as the framing pattern, framing criteria, highlighted and basic frame features, perspective, scene extension and scene-scene relations. Authentic data taken from Eileen Chang’s conventional translation and self-translation are carefully categorized and discussed within the framework of this model. As evidenced by ample exemplifications, the frame/scene notion and the prototypical approach to the ST-TT relation are of both explanatory strength and problem-solving advantages for fictional translation. The proposed principle is proved to be effective, which may well serve as a diagnostic tool for translation problems, a yardstick for translation quality and a reference point for the translator’s obligation and freedom. As a whole, being a comprehensive investigation that concerns both theory and practice, the thesis attempts to shed some new light on certain basic issues of translation studies and it is of particular relevance to the practice of literary translation. The concepts and methods developed in the thesis might also contribute to the progress of frame semantic theory. / published_or_final_version / Chinese / Doctoral / Doctor of Philosophy

Not available / text

published_or_final_version / English / Master / Master of Philosophy

Most translation in the world is not of texts which have high literary and cultural status. The great majority of professional translators are employed to satisfy the huge and growing demand for translations of scientific and technical documents, commercial and business transactions, administrative memoranda, legal documentation, instruction manuals, agricultural and medical text books, industrial patents, publicity leaflets, newspaper reports, etc. Some of this work is challenging and difficult. But much of it is tedious and repetitive, while at the same time requiring accuracy and consistency. The demand for such translations is increasing at a rate far beyond the capacity of the translation profession. The assistance of a computer has clear and immediate attractions. The practical usefulness of an MT system is determined ultimately by the quality of its output. But what counts as a ‘good’ translation, whether produced by human or machine, is an extremely difficult concept to define precisely. Much depends on the particular circumstances in which it is made and the particular recipient for whom it is intended. Fidelity, accuracy, intelligibility, appropriate style and register are all criteria which can be applied, but they remain subjective judgments. What matters in practice, as far as MT is concerned, is how much has to be changed in order to bring output up to a standard acceptable to a human translator or reader. With such a slippery concept as translation, researchers... [to full text]

This thesis examines the connections between Japanese gardens, Modernism and Japanese-inspired gardens in New Zealand. The link between traditional Japanese gardens and Modernism is a familiar theme for scholars of architecture, design and landscape architecture. A less considered route of scholarship is the relationship between historical Japanese garden designs, Modernist-inspired gardens in Japan, and New Zealand garden design. A historical foundation provides a base on which to analyse any later changes or transmissions. By analysing the history of Japanese gardens and Modernism, through select key figures, one can also grasp their complexities and outline wider trends. Connecting these somewhat divergent entities is important due to the fact that these gardens represent a myriad of global translations. They represent the modernisation and globalisation of Japan and New Zealand as well as trends in New Zealand‟s artistic and cultural community. The success of the translation of Japanese traditions into New Zealand was due to, in part, the production of a regional idiom. New Zealand‟s Japanese-inspired gardens represent the integration of Japanese and New Zealand traditions, materials and ideas. The result is a hybrid garden, a garden which forms its own specific regional peculiarities which symbolises the many connections between Japan and New Zealand.

Thesis (Ph. D.)--UCLA, 2007. / Vita. Includes bibliographical references (leaves 404-435).

Thesis (Ph. D.)--University of Notre Dame, 2006. / Thesis directed by Dolores Warwick Frese and Maura B. Nolan for the Department of English. "December 2006." Includes bibliographical references (leaves 280-295).

本論文從互文性視角研究《狼圖騰》和《塵埃落定》的英譯，通過建立文本內部的話語與文本外部的話語之間的互文聯繫，分析源文內部的話語與源語系統中相關話語的互文性，及英譯內部的話語與目標語系統中相關話語的互文性，進而闡釋源文的文本意義和英譯的文本意義。 全文共分四章。第一章為緒論，介紹本文的選題背景、研究範圍與研究問題、研究方法、文獻綜述、理論框架和章節佈局。第二章是對《狼圖騰》及其英譯Wolf Totem作文本分析。本章通過分析在源文和英譯中圍繞蒙古族草原生態觀而展開對話的四類話語，建立每一類話語在源語系統和目標語系統中的互文聯繫，發現《狼圖騰》的文本意義是強調借蒙古文化的元素使中國變強大的話語，而其英譯Wolf Totem則重在彰顯內蒙古的蒙古文化，弱化了中國崛起的話語。第三章是對《塵埃落定》及其英譯Red Poppies作文本分析。本章通過分析在源文和英譯中圍繞嘉絨族群身份認同而展開對話的五類話語，建立每一類話語在源語系統和目標語系統中的互文聯繫，進而發現《塵埃落定》的文本意義是借追尋族群身份來彰顯嘉絨藏族的主體性。其英譯Red Poppies文本產生的意義則不在於尋找嘉絨族群身份，而是更突出了這一文本與英語世界裡西藏觀的既有話語的互動。第四章為結語部分，總結本論文的研究成果，對本論文運用的理論和方法進行批判性反思，最後是對後續研究的方向作出展望。 This thesis provides an analysis from an intertextual perspective of English translations of Lang Tuteng and Chen Ai Luo Ding, two Chinese novels set in China’s ethnic minority regions published since the 1990s. It is argued that these Chinese novels derive their meaning from a dialogue with various discourses circulating around them, and that English translations of these novels derive their meaning from a dialogue with various discourses circulating around the translations and their source texts. This thesis is organized into four chapters. Chapter One details the research background, delineates the scope of study, sets out the research questions, specifies methodology and theoretical framework for analysis, and provides a review of the literature. Chapter Two provides a detailed analysis from an intertextual perspective of Lang Tuteng and its English translation Wolf Totem. Four discourses concerning the characters’ attitudes towards the Mongolian ecology are identified in Lang Tuteng. A comparative analysis of the source and target texts shows that, whereas the source text privileges the discourse of ‘strengthening China through learning from the Mongolian culture’, the target text puts the emphasis on the Mongolian culture itself, and that the concern with China’s nation building is much less pronounced in the target text than in the source text. Chapter Three provides a detailed analysis of Chen Ai Luo Ding and its English translation Red Poppies. Five discourses concerning the identity of the Jiarong people in relation to China and the Tibetan region are identified in Chen Ai Luo Ding. A comparative analysis of the source and target texts shows that, whereas the source text highlights the issues of identity concerning the Jiarong people, the target text engages effectively in dialogue with existing discourses concerning the Tibetan region in the target language culture. The Chinese novel and its English translation acquire additional layers of meaning when their intertextual relations are teased out and read in their respective cultural contexts. Chapter Four provides a summary of the findings of the thesis, paying special attention to the connections and differences between the two case studies. Both novels are set in ethnic minority regions in mainland China, depict cultures of ethnic minority groups, and discuss the relationship between the ethnic minorities and the majority Han people in mainland China. Lang Tuteng adopts the perspective of the Han Chinese, positions the Mongolian culture as the other, and emphasizes the importance of learning from the other; however, Wolf Totem stresses the marginalization of the Mongolian culture, rather than issuing an appeal for the Han Chinese to enrich their culture and contribute to the rise of the Chinese nation. Chen Ai Luo Ding adopts the perspective of the Jiarong people, positions foreign cultures as the other, and highlights the narrator’s quest for an identity of the Jiarong people. A comparative analysis of the Chinese novel and its English translation shows the ways in which Red Poppies adheres to the discourses in the source text and enters into dialogue with dominant discourses on the Tibetan region in the target language culture. Chapter Four also includes theoretical reflection on the methodology and theoretical framework of this thesis, and suggests possible avenues for future research.

M.A.

A research report submitted to the Faculty of Humanities, University of the Witwatersrand, Johannesburg, in partial fulfilment of the requirements for the degree of Master of Arts in Translation Johannesburg, 2016 / The aim of this research report is to analyse how the Xitsonga original and the English translation of the play by CTD Marivate, Jim Xilovekelo (1965) can be translated in terms of culture-specific elements as reflected through dialogue. The research project examines the notion of the two basic translation strategies of domestication and foreignization in relation to both linguistic and culture-bound elements. A translation of the play into English forms the basis of the research, with detailed comments and annotations. The overall approach to the translation of the play was to retain the foreignness and style of the original text, taking into account the different languages and language varieties that feature in the play, such IsiZulu, Sesotho, Xitsonga, English, Fanakalo and Tsotsitaal. These all form part of South African urban heterogeneous culture in both the source and target texts. Retaining these culturallinguistic elements within the target text ensures that the style and features of the source text are reflected in the target text. / MT2017