In translating the Aeneid as faithfully as possible, Gavin Douglas saw himself as an innovator, breaking with the tradition of adaptation and instead presenting a faithful literary translation. In the Prologues to his Eneados Douglas discusses his theoretical principles, comments on the work of his predecessors in the transmission of Virgil in English, and raises issues pertinent to the contents of the Books of the Aeneid. However, the Prologues also reflect Douglas's perception of a conflict between his religious and artistic impulses, and show his gradual resolution of this conflict inherent in his dual role as critical artist and churchman. By placing Douglas's Prologues in the context of prologues by other medieval writers, Chapter I shows that Douglas's new approach to faithful literary translation is matched by his independence in the employment of conventional literary devices, which he revitalizes by using them in a meaningful way rather than applying them because custom so dictates. Chapter II focuses on the narrator in his various and divergent roles, especially those of the poet and priest; while these two roles initially seem to make conflicting demands on the translator-narrator, he eventually resolves the conflict and recognizes a sublime harmony between divine and human artistry. Chapter III examines Douglas's practice of translation in light of his own theory; even though Douglas tends to "modernize" Virgil, he produces a genuine translation in which his avowed aims are largely realized. Chapter IV focuses on the connexions of the individual Prologues with their respective Books and demonstrates that even though the translation itself is generally accurate, the interpolation of the Prologues with their re-interpretation of common archetypes as foreshadowings of Christian doctrine causes a radical transvaluing of the Aeneid as a Christian allegory. Chapter V shows that there is not only a linkage between the Prologues and Books, but that the Prologues are also connected to each other by the narrator's search for a theologically acceptable yet also artistically satisfying re-creation of a non-Christian work. Aeneas and the translator-narrator are thus engaged in parallel quests during which they have to overcome physical obstacles and resolve inner conflicts before they can reach their final destinations. / Arts, Faculty of / English, Department of / Graduate

L'etude suivante porte sur la traduction du theatre dans le contexte Canada/Quebec, de 1951 a 1994, et suit une methodologie empruntee a l'Ecole de Tel-Aviv et a l a «critique productive» d'Antoine Berman. Apres un survol des discours portant sur les litteratures et les dramaturgies canadienne et quebecoise en traduction, une analyse des douze pieces inscrites au corpus permet d ' identifier la fonction attribuee au traduit dans le contexte recepteur. De la fin des annees 60 jusqu'au milieu des annees 80, les dramaturgies franco-quebecoise et canadienne-anglaise sont marquees par la question identitaire . La traduction repond alors a un desir de creer un repertoire national, specifiquement quebecois d'une part et specifiquement canadien de l'autre. Cette specificite repose sur la mise en valeur de la difference, ressentie comme essentielle a L'elaboration d'une identite nationale distincte. Commune a chaque groupe linguistique, cette mise en valeur de la difference fait toutefois appel a des procedes fort divergents. D'un cote, la traduction franco-quebecoise met l'accent sur sa propre difference, au moyen d'adaptations qui prennent l'apparence d'un produit local et masquent l'origine du texte canadien-anglais. De l'autre, la traduction canadienne-anglaise souligne l ' alterite du texte quebecois en insistant sur son caractere non menacant et evite la cruciale question de la representation anglaise du joual, langue emblematique du nouveau theatre quebecois. A la fin des annees 80, les deux groupes linguistiques rorapent avec ce modele et affichent de nouvelles tendances. Au Quebec, ou le theatre canadien-anglais connait une popularity grandissante depuis 1990, l'obligation speculaire cede le pas au spectaculaire oblige et a la theatralite provocante qui servent a legitimer l'emprunt anglo-canadien. De son cote, la traduction anglaise du texte quebecois n'est plus confronted au joual mais au probleme que pose l'esthetique verbale hautement stylisee des pieces franco-quebecoises plus recentes. La traduction doit alors attenuer une exuberance langagiere qui heurte les normes en vigueur dans la dramaturgie canadienne-anglaise. La forte polarisation observee dans les strategies de traduction deployees de part et d'autre reflete l'asymetrie des positions occupees par les dramaturgies produites dans les langues officielles du Canada, ou l'anglais constitue la langue de la majorite et ou le francais demeure minoritaire. / Graduate and Postdoctoral Studies / Graduate

The Motif of Holy Kinship in the Christian Tradition and its Application in the Arts with Special Regard to Czech Republic. The work deals with the theme of iconographic analysis of Holy Kinship, focuses on resources in Holy Scripture, in Church tradition and among prominent theologians and historians. The texts are translated from Greek and Latin patrology, church documents and texts of prominent theologians. Toward two known Czech paintings shows two unknown parallels from auction catalogs. Provides an overview of the paintings and sculptures of Holy Kinship in the Czech Republic. Powered by TCPDF (www.tcpdf.org)

Thesis Comparison of selected Czech translations of Cervantes's Don Quixote Vojtěch Kolomý Abstract The aim of this thesis is to compare the last two translations of Cervantes's Don Quixote: the translation realised by Václav Černý in 1931 and the translation of Zdeněk Šmíd from 1952. Although the thesis focuses on the original versions of both translations, the later changed editions are taken into account too. The structure of the thesis is as follows: First, the thesis analyses Cervantes's original text with respect to the translation and after a short chapter about the first Czech translators of Don Quixote and their translations, it describes the translations of Černý and Šmíd and the circumstances of the genesis of both translations. Then, the core of this thesis is a detailed parallel comparison of certain passages from Don Quixote. In the final chapter, the findings are applied. Keywords: Don Quixote, Cervantes, translation criticism, Václav Černý, Zdeněk Šmíd

This dissertation, entitled Utopia Refracted through Mandarin Lenses, examines the legacy of Thomas More's Utopia (1516) in three aspects: translations, paratexts, and afterlives. It explores how Utopia - as a book and as a construct - has been appropriated into the Mandarin context during the process of linguistic and cultural transfer in the acts of translation. Employing close reading, instrumental case study, and the concept of paratexts to survey fourteen standalone Mandarin translations of Utopia, this study aims to fill in the gap of a previously neglected aspect of utopian studies, especially its paratextual apparatus, which has been almost entirely overlooked (with only one exception in 2003) since its first translation in 1935. This dissertation is structured into four chapters: the first chapter contextualises Utopia in the original Renaissance context by providing its early publication history (Latin and English) and by analysing the modes of narrative - fiction and dialogue - in which More's self-fashioning is manifest and where his hypothetical heterocosm is materialised. All this substantiates how fiction, dialogue, and paratexts are integral to the shaping of Utopia, without which a holistic reading is not feasible. The second chapter examines the introduction of the concept of...

In this study, the role of translation in the introduction of Chinese xiqu into the United States is examined using an anthropological approach. This study identifies three encounters that exemplify the three critical stages of acceptance of xiqu in the United States, and examines how translation operates and functions as a tool of cultural mediation in the introduction and promotion of xiqu there. The three critical encounters this study identifies are: the 19th century performance tours of Cantonese opera in San Francisco, the 1930s tour of Mei Lan-fang to the U.S., and the 2006 tour of Kenneth Pai's production of the Young Lover's Edition of the Peony Pavilion to the U.S. An ethnohistoric approach is adopted to reconstruct the contexts of the translators' decision-making with the purpose of highlighting the human factor in the process. Translations, first-hand paratextual materials and data collected in interviews facilitate the triangulation of analysis and verification. The result offers a critical understanding of translation in a cultural dissemination process by analyzing xiqu with an emphasis on the human factor.

The diploma thesis deals with speech characteristics of Hašek Švejk and translations of the novel into Russian, focusing on humor and satire. The aim of the thesis is to analyze, compare and critically evaluate Russian translations of Jaroslav Hašek's novel The Good Soldier Švejk, and especially the canonized translation of Pyotr Bogatyryov with a Czech original novel focusing on humor and satire. In addition to the translation of Bogatyryov, the thesis will also focus on the translations of Mikhail Skachkov and the latest translation of V. Lavrova and A. Fyodorov. The theoretical part is dedicated to the biographies of translators, Hašek's author style and speech characteristics of the main character of the novel. In the practical part, the thesis focuses on the analysis of translations of the excerpts containing humoristic elements. Based on the results of the analysis, in the conclusion part of the thesis we described translation tendencies of individual translators. Key words Jaroslav Hašek, Švejk, speech characteristics, humor, satire, Pyotr Bogatyryov, Mikhail Skachkov, translatological analysis, V. Lavrova, A. Fyodorov

The diploma thesis deals with speech characteristics of Hašek Švejk and translations of the novel into Russian, focusing on humor and satire. The aim of the thesis is to analyze, compare and critically evaluate Russian translations of Jaroslav Hašek's novel The Good Soldier Švejk, and especially the canonized translation of Pyotr Bogatyryov with a Czech original novel focusing on humor and satire. In addition to the translation of Bogatyryov, the thesis will also focus on the translations of Mikhail Skachkov and the latest translation of V. Lavrova and A. Fyodorov. The theoretical part is dedicated to the biographies of translators, Hašek's author style and speech characteristics of the main character of the novel. In the practical part, the thesis focuses on the analysis of translations of the excerpts containing humoristic elements. Based on the results of the analysis, in the conclusion part of the thesis we described translation tendencies of individual translators. Key words Jaroslav Hašek, Švejk, speech characteristics, humor, satire, Pyotr Bogatyryov, Mikhail Skachkov, translatological analysis, V. Lavrova, A. Fyodorov

The diploma thesis deals with the speech characteristics of Hašek's Švejk and the translations of the novel into Russian, focusing on humour and satire. The aim of the thesis is to analyze, compare and critically evaluate the Russian translations of Jaroslav Hašek's novel The Good Soldier Švejk, and especially the canonized translation of Pyotr Bogatyryov witha Czech original novel focusing on humor and satire. Apart from Bogatyryov's translation, the thesis focuses on the translations of Mikhail Skachkov as well as the latest translation of V. Lavrova and A. Fyodorov. The theoretical part is dedicated to the biographies of the translators, Hašek's writing style and the speech characteristics of thenovel's main character. In the practical part, the thesis focuses on theanalysis of the translations of the excerpts containing humoristic elements. Based on the results of the analysis, in the conclusion part of the thesis we described translation tendencies of individual translators. Key words Jaroslav Hašek, Švejk, speech characteristics, humour, satire, Pyotr Bogatyryov, Mikhail Skachkov, translation analysis, V. Lavrova, A. Fyodorov

(english): The thesis analyses a translation activity of Josef Wenzig (1807-1876), educator, translator, writer and librettist, who wrote primarily in German. During his life, Josef Wenzig translated numerous Czech poems from the first half of the 19th century. He was the translator of folk songs, poems of Kollár, Čelakovský, Štulc, Vocel, Jablonský, Erben and others. With his extensive work he tried to be a mediator between Czech and German culture. The thesis analyses individual compilations of translations, their presentation and reception, and primarily deals with the role of the translation between Czechs and Germans. The aspect of translator is also very important, because he grew up in the German family, but he took a positive stand on the Czech nation. The thesis aims to interpret Wenzig's texts (mainly forewords), which accompanied the translations, and their impact on the reception.