In chapter 1, I ponder the role of authorship and whether or not an original text can truly exist. Specifically, the claim that Borges has that a copy can be superior to an original. From this, brings me to chapter 2 with the movie Man of la Mancha. In this movie, I highlight some of the pros and cons of a copy. The windmill scene is a negative emanation of the Quixote, while the interaction between people and the presence of women is something the movie truly displays well. In the third chapter, I look at Lost in la Mancha because it demonstrates a failed attempt to translate the Quixote. In essence, anything that tries to represent this truly great text will fail; however, it's failure can paradoxically be thought of as a success because it's an homage to the Quixote. As far as the Ezra Pound material, I thought it extremely pertinent to look at his experience on a metro because he attempts to describe a vision that he had through poetry. He notes that it is very difficult to encapsulate his entire experience because the primary form of art (his vision) is being described through a secondary form (words). Thus, when you translate a form of art through a medium it loses some of its value. This is what happens with the Quixote; its primary form (words) is being displayed through a secondary form (film), and it inevitably loses something in the translation. The final chapter/conclusion is a more in-depth investigation of this investigation primary form of art (writing). This uses the character of Gines as a concrete example of a formal and stylistic quality that is unique to literature. Namely, the physical ranging of words on a page in both a spatial and literary sense. When you extract those lines from a novel you implicitly remove some of the dialectic between Cervantes' work and the genres he's invoking, just by taking it out of the form of literature. The surroundings of text establish the meaning of the novel. The conclusion is my final chance to argue why the Quixote is so special and untranslatable. I touch on the qualities that keep it forever live and present in us today. Through the Quixote's proclivity for renaming the real world (established societal beliefs/values, etc.) in his own vein, Cervantes allows for the Quixote to reappropriate the world around him, making it uniquely his. In so doing, Cervantes creates a character who is able, not only to write his own self-history, but to control the way that said self-history will be written by others. By blurring the lines between narrator and narration and history and fiction, Cervantes creates a work that is endlessly present, where words becoming living page, and actions occur as they are said.

This study examined issues of measurement equivalence in a cross-national study using the Marital Satisfaction Inventory-Revised (MSI-R). Overall findings supported cross-cultural similarities across the Spain, Germany, Korea, and the U.S. standardization samples. The Spanish, German, and Korean translations of the MSI-R demonstrated moderate to strong internal consistency, inter-scale correlations, and discriminative validity overall. Confirmatory factor analyses revealed configural and metric invariance across the original measure and the German, Spanish, and Korean translations. Mean profile comparisons between the current German, Spanish, and Korean samples and the original standardization sample revealed significant differences on several scales. Test characteristic similarities between the U.S. and the Spanish, German, and Korean clinical samples suggest the clinical utility of the MSI-R for identifying couples for secondary prevention or intervention protocols, and treatment planning in Spain, Germany, and Korea. Implications for cross-national clinical and research applications of the MSI-R are discussed.

published_or_final_version / abstract / toc / Chinese / Master / Master of Philosophy

This dissertation examines the principal Japanese translations of Arthur Waley (1889-1966): Japanese Poetry: The Uta (1919), The No Plays of Japan (1921), and The Tale of Genji (1925-33). These works have been overlooked as English literature of the British modern period, although Waley intended most of his translations to function as modern English literature. I include a short biography of Waley's formative years and maintain that aspects of his identity—Jewish, bisexual, and socialist—were important in the choice of his occupation and in the selection and interpretation of his texts. I situate Japanese culture in the context of orientalism and Anglo-Japanese political relations. Japanese culture had a role to play in Anglo-Japanese imperialisms; this is demonstrated through an examination of the activities of the Japan Society of London, where Waley presented one of his first translations. The School of Oriental Studies in London also provided a platform for the translation and dissemination of Asian literature for the express purpose of promoting British imperial interests in the Far East. As an orientalist working through these institutions and the British Museum, Waley's positioning of himself as a Bloomsbury anti-imperialist was ambiguous. His texts, moreover, had a role to play in the presentation of Japan as an essentially aesthetic, 'feminine' nation. There are few letters, and no diaries or working papers of Waley. I rely, therefore, on his published works, as well as the memoirs, letters and biographies of family members and friends, especially those of the Bloomsbury Group with which he was associated. I make extensive use of the Transactions of the Japan Society and historical records of the School of Oriental Studies, as well as critical reviews of Waley and other translators. Social and cultural histories of the period are used to construct key. contexts: the Anglo-Jews, the Cambridge Fabians, British orientalism, and English modernism between the wars. Since I maintain that homoeroticism in Japanese literature was one of its attractions for Waley, I also look to queer theory to assist in my reading of Waley's texts. I conclude that The Tale of Genji enabled Waley to realize a personal ambition to write stories, and he produced a unique English novel that remains not only the most important modernist interpretation of Japanese culture between the wars, but a remarkable record of Edwardian-Bloomsbury language and aesthetic sensibility.

This Master's Thesis presents and analyses the problems involved in the transfer1 of the name and the works of Alexandre Pushkin in nineteenth century France. Pushkin, Russia's national poet and its most revered author, is little known in France, where his works are often considered untranslatable. The reasons for this phenomenon lie in the first non-translational transfers of Pushkin, followed by the first attempts of translational transfers that came only to raise the existing stereotypes into dogmas, which were reinforced by the theoretical thoughts on the art of translation developed by the translating subjects of the time. The present study analyses the influence of the para-text and of empiricism on the transfer, reception and perception of Pushkin and his works, as they evolved in the course of nineteenth century France. / 1"Translation" in French. For a definition see A. Berman, Pour une critique des traductions: John Donne (Gallimard, 1995), p. 17.

Ce memoire est avant tout un travail de traduction. Le livre a traduire, Ma Vie, mon Cri de Rachida Yacoubi, est tres long (355 pages). 11 fallut beaucoup de travail, de revision et de discussion avec mes deux directrices pour finir la traduction. Je suis tres reconnaissante de leurs conseils et je tiens vivement a remercier Vanessa Everson et Carole Beckett. J'appris davantage en discutant certains problemes precis et epineux avec elles, qu'en etudiant la theorie de la traduction. Cette tache nous a meme diverti puisque la traduction est souvent comme un jeu stimulant si on se passionne pour les mots et I'expression exacte! En depit des difficultes associees a un changement de directrice, je profitai de deux points de vue, parfois differents, mais toujours interessants et enrichissants. L'aspect pratique de mon memoire fut renforce par les cours sur la theorie de la traduction (Translation 810, anime par le Professeur D.Z. van den Berg). L'activite de traduction est un art plutot qu'une science dans le sens que la traductrice est obligee de se servir de ses connaissances linguistiques (mesurables et ainsi scientifiques), mais surtout de son imagination afin de trouver le mot / la phrase juste pour recreer, pour ne pas dire reinventer, I'atmosphere et les emotions transmises par un autre1 . La traduction parfaite n'existe pas. C'est pourquoi j'ai employe le verbe «finir» au lieu de « perfectionner ». En effet, ce n'est peut-etre pas vraiment possible de « finir » une traduction, mais en fin de compte, la question du temps disponible s'impose. 11 me semble que Newmark exprime bien mon dilemme : « You can compare the translating activity to an iceberg: the tip is the translation - what is visible, what is written on the page - the iceberg, the activity, is all the work you do, often ten times as much again, much of which you do not even use. »2 En ce qui concerne ce memoire, c'est la qualite de la traduction meme de Ma Vie, mon Cri qui est donc d'une importance primordiale. D'oll, pour juger cette traduction, il est imperatif de se reterer au texte original.3 Dans I'introduction je peins le contexte general de Ma Vie, mon Cri et dans le commentaire j'expose 2 mon approche et mes raisonnements en tant que traductrice. Vu que j'etudiai la theorie de la traduction en anglais, et que la langue cible de la traduction est I'anglais, le commentaire est aussi en anglais. / Thesis (M.A.)-University of Natal, Pietermaritzburg, 2003.

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Various problems which occur during the translation of a literary text are often linked to the linguistic and extra-linguistic particularities of the original text. This thesis, which focuses on A Prayer for Owen Meany by John Irving and its French translation, Une priere pour Owen by Michel Lebrun, deals with several of these problems. The analysis is based on two axes of reflection. The first, theoretical, is discussed in chapter one and bears on three fundamental elements of the act of translation: the notion of the ethics of translation (which concerns, among other things, the question of accuracy, or "faithfulness"); the actual process of translation, that is the operation during which certain characteristics of the source text are necessarily modified; and, finally, the polysystem theory. This approach allows the consideration of "external" elements, for example, the target culture and reader. / The second axis of reflection is in fact inspired in large part by the polysystem theory because of this consideration. As both the original and its translation refer to a specific linguistic context, literary intertext and socio-cultural milieu, chapter two deals with John Irving's and Michel Lebrun's bio-bibliography as well as certain characteristics of the American and French polysystems and of the best-seller markets in the two countries. We felt it would be useful to study these factors in order to better evaluate the translated text and to better understand the translator's choices. / In the third and final chapter the translation itself was analysed. The study of the solutions chosen by Michel Lebrun to solve the problems posed by the source text leads us to believe that the translator produced a text responding to the expectations of the average reader, fond of best-sellers.

The project describes the development and standardization of the Myers-Briggs Type Indicator into the Greek language. Statistical properties of the Greek version were comparable to those of the original American version providing evidence of its adequacy as a psychometric tool. The comparison of the distribution of types of Greek university students (N = 946) with that of French Canadians, and Americans showed a preference for "thinking" and "perceiving". Further, gender associated preferences for thinking and feeling evident in the American and French Canadian norms were also present in the Greek data.

Based on a joint process of analysis and translation, this research explores the challenges of translating into French a novel by Samuel Selvon titled The Lonely Londoners (1956), one of the first and few English Caribbeans novels entirely composed in a vernacular style and sold to an international English-speaking audience. Using a Bourdieusian methodology of praxis, the thesis analyses the interaction between the various levels of decision-making and the linguistic, political and aesthetic factors that interfere with the translation process, from the interpretation of the text to its rephrasing. It consists of six chapters that, from the second to the fifth, trace the stages of the translation process. Through a review of the critical reception of Selvon's novel, the second chapter examines the stakes of translating The Lonely Londoners from a theoretical perspective. Via a close reading of the text, the third delves into some of the interpretative suggestions made by recent critics. In a discussion leading to the layout of a translation project, the fourth explores the relation between the linguistic and cultural constituents interacting in Selvon's text and those that are likely to play a role in translation. Commenting on some of the translation strategies chosen, the fifth presents part of the formal realization of this project. The opening and closing chapters enlarge the framework by inscribing the object in a wider perspective. While the first chapter offers a panorama of the place of English Caribbean fiction in French translation, the final chapter reflects on the translation process undertaken in order to address more political/ethical issues. In the final analysis, the author concludes that for linguistic and political reasons as much as aesthetic ones, it is necessary to refocus the ongoing debate on the ethics and politics of translation, a debate traditionally dealt with in terms of particular translation strategies, on the interpretative process