Thesis (M. A.)--University of Hong Kong, 2007. / Title proper from title frame. Also available in printed format.

Thesis (Ph. D.)--University of Washington, 1995. / Vita. Includes bibliographical references (leaves [265]-271).

No description available.

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Murakami Haruki est probablement l'auteur le plus célèbre et le plus largement traduit de sa génération. Ce succès mondial, que la critique a parfois pu expliquer par l'occidentalisation de l'auteur, nous semble plutôt reposer sur une utilisation habile de l'intertextualité. Notre étude, après une présentation générale de la notion d'intertextualité, s'attache à déterminer les divers mouvements intertextuels chez l'auteur ; d'abord, en s'intéressant à l'intertextualité externe, qu'elle intervienne au plan microstructural, avec la référence et la citation, ou macrostructural, avec le pastiche et la parodie. Ensuite, en revenant sur l'intertextualité interne, également appelée intratextualité, si prégnante chez Murakami et qui structure son œuvre en réseau d'univers labiles. Nous verrons enfin que cette intertextualité massive pose question tant du point de vue critique, avec la problématique de la postmodernité, que du point de vue du lecteur, avec celle de la réception. / Murakami Haruki is often said to be one of the most famous and most widely translated Japanese authors of his generation. This worldwide success, which have sometimes been explained by critics regarding the author's occidentalization, is, for us, rather based on a clever use of intertextuality. Our study, after a general presentation of the notion of intertextuality, sets out to determine the various intertextual movements in the author's works. First, by analyzing external intertextuality, whether it occurs on a microstructural (with references and quotations) or macrostructural plan (with the use of pastiche and parody). Then, by analyzing internal intertextuality (also called intratextuality), which structures his works in a labile worlds' network. We will finally see that this massive intertextuality is an important issue both for critical (with the question of postmodernity) and reader's (with the question of reception of the works) points of view.

Thesis (Ph. D.)--University of Canterbury, 2007. / Typescript (photocopy). Includes bibliographical references (leaves 322-336). Also available via the World Wide Web.

Dissertation (Ph.D.)--The University of North Carolina at Greensboro, 2009. / Directed by Mary Gibson; submitted to the Dept. of English. Title from PDF t.p. (viewed Jun. 7, 2010). Includes bibliographical references (p. 255-271).

In Murakami's detective novels, pop culture references, irony, and hard-boiled genre conventions combine with magic realist prose to articulate the search for individual identity in a Japanese milieu structured by traditional communal values. At the same time, Murakami's work remains grounded in Japanese literary tradition, and he sees himself very much as a product of modern Japan. The thesis traces the blending of these diverse tendencies in three of Murakami’s most popular novels: A Wild Sheep Chase, Hard-Boiled Wonderland and the End of the World, and Dance, Dance, Dance. The Introduction provides an overview of the product, critical reception of Murakami's body of work, and my methodological approach. The overview provides the cultural and social background for the individual/corporate tension within his novels. Then, I examine current critical debates surrounding Murakami's works including his position as a postmodern writer and his status as a national author. In my methodology section, I outline my Marxist, new historicist and psychoanalytic critical approaches to Murakami's work followed by an exploration of his use of magic realist prose within the detective genre. Each of the next three chapters provides a close reading of one of the novels in which I examine through Murakami's recurring stylistic method the progression of his exploration of identity. The conclusion argues that the sense of coherence in Murakami's writing project stems from a recurring stylistic method and consistent effort to suggest new forms of living out Japanese cultural identity in postmodern, globalized terms.

The distinguishing traits of characters in novels may appear to change in translation. One of the main means of conveying the individualities, personalities and moral qualities of characters is through dialogue, using the possibilities opened by, for example, the selection of register and use of gendered language. In order to gain insight on how apparent changes to characteristics can arise, this case study investigates whether, why and how the character Midori in Murakami Haruki's Norwegian Wood appears to change in translation, based on her dialogue. The study demonstrates how linguistic differences between the source and target languages and the adoption of an overall approach to translation, such as a foreignising or domesticating strategy, are major factors in determining the nature and magnitude of any observed change. Two of the most influential speech elements identified and studied are gendered language and casual language. Both terms represent similar but not identical concepts in the source and target languages and are manifested differently in the two languages, giving rise to wide-ranging translation problems. The study further suggests that a domestication approach, as well as modifying the fluency and cultural flavour of the text in general, can affect the characterisation of novels both indirectly and directly. The influence of a domesticating approach to translation focusing on its application specifically to dialogue or influence on characterisation may be a fruitful area for further research.

Submitted by Edineia Teixeira (edineia.teixeira@unioeste.br) on 2018-04-11T18:24:13Z No. of bitstreams: 2 Kamyla_Kawashita 2017.pdf: 1314271 bytes, checksum: 18591742c0f5978ac311d9954b35bc56 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) / Made available in DSpace on 2018-04-11T18:24:13Z (GMT). No. of bitstreams: 2 Kamyla_Kawashita 2017.pdf: 1314271 bytes, checksum: 18591742c0f5978ac311d9954b35bc56 (MD5) license_rdf: 0 bytes, checksum: d41d8cd98f00b204e9800998ecf8427e (MD5) Previous issue date: 2017-12-19 / Coordenação de Aperfeiçoamento de Pessoal de Nível Superior - CAPES / The aim of this study is to investigate cultural markers (MCs) in Umibe no Kafuka (2002), by the Japanese writer Haruki Murakami, and to analyze their respective translation in Kafka à beira-mar (2008) by Leiko Gotoda, and Kafka on the Shore (2005), by James Philip Gabriel, referred in this study as TO, TTp and TTi, respectively. We intended to study the choices made by the translators of the target texts when faced with cultural differences in order to observe similarities and differences in both texts. To accomplish so, we investigated translation modalities and features of explicitation, simplification and normalization found in the translation of the MCs. The theoretical and methodological approach consist in Camargo’s interdisciplinary proposal (2004, 2007), which is grounded on Corpus-Based Translation Studies (Baker, 1993, 1995, 1996, 2000), on Baker’s study on translation features (1996), and on Corpus Linguistics (Berber Sardinha, 2004). It also adopts the use of electronic tools provided by the computer software WordSmith Tools for investigating the corpus and analyzing the data. For the study of the MCs, we selected the works on cultural domains (Nida, 1945) and its reformulation (Aubert, 1981, 2006), and the study on translation modalities (Aubert, 1984, 1998). The results show significant keyness for the MCs jinja/shrine (185,20), futon (112,79), udon (82,56) and pachinko (54,00) in TTi, and jinja/santuário (172,49) and ikiyou (70,80) in TTp. Adaptation and Calque are the most representative translation modalities found in the translation of the MCs. We also identified greater features of explicitation in TTp, and simplification and normalization in TTi. / O objetivo do presente trabalho é investigar marcadores culturais (MCs) encontrados na obra Umibe no Kafuka (2002), do escritor japonês Haruki Murakami, e analisar as respectivas traduções em Kafka à beira-mar (2008), por Leiko Gotoda, e em Kafka on the Shore (2005), por James Philip Gabriel, representadas ao longo do trabalho pelas siglas TO, TTp, e TTi, respectivamente. Foram examinadas as escolhas dos tradutores nos respectivos textos ao lidarem com as diferenças culturais, no intento de verificar aproximações e distanciamentos nas obras. Para tanto, foram observadas as modalidades tradutórias e examinados traços de simplificação, explicitação e normalização presentes nas traduções de trechos circundantes aos MCs. Para a realização do trabalho, recorremos à abordagem interdisciplinar adotada por Camargo (2004; 2007), a qual se apoia na proposta dos Estudos da Tradução Baseados em Corpus (BAKER 1993; 1995; 1996; 2000), nos estudos de Baker (1996) sobre as tendências de tradução, nas categorias de análise de normalização com base em Scott (1998) e na Linguística de Corpus (BERBER SARDINHA, 2004); e propõe também o uso de ferramentas eletrônicas disponibilizadas pelo programa computacional WordSmith Tools, para a investigação do corpus e levantamento dos dados. Para a investigação dos MCs recorremos aos trabalhos sobre domínios culturais de Nida (1945), à sua reformulação proposta por Aubert (1981; 2006) e aos estudos sobre as modalidades tradutórias de Aubert (1984; 1998). Os resultados apresentam índice de chavicidade significante para os MCs jinja/shrine (185,20), futon (112,79), udon (82,56) e pachinko (54,00) no TTi, e jinja/santuário (172,49) e ikiyou (70,80) no TTp. Destacaram-se, entre as modalidades tradutórias para tradução dos MCs, a adaptação e o decalque. Observou-se, também, maior tendência à explicitação no TTp, e à simplificação e à normalização no TTi.