Thesis (Ph. D.)--University of Wisconsin, Madison, 1942. / Includes bibliographical references (p. 342-346).

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This thesis focuses on the way in which slanguage, treated as a way of characterization, is rendered in the Lithuanian translation of Marian Keyes’s chick lit novel Anybody Out There (2006) by Regina Šeškuvienė (2007). The main characters in the novel are women who use slang words and swear words in different situations both at work and their personal lives. In this respect, these women are different from traditional heroines of the romance who tend to use language in a traditionally feminine way, i.e. their language is polite and suited to reflect their impeccably feminine character. Swear words for heroines of chick lit serve as a means to express their oftentimes excessive and not always socially approved emotions and attitudes. The use of proper and specific slang helps them to make their conversations sound informal, to show familiarity and friendliness and to speak about uncomfortable issues such as sexual orientation or drug addiction. Slanguage becomes a significant means of characterization in Anybody Out There. Therefore, the aim of this thesis is to analyse how the use of language by female characters reveals their character in the source text and in the target text and how slanguage as a means of characterization functions in the Lithuanian translation of the novel. The thesis consists of two main parts, theoretical and analytical. The material and the aim of the thesis are presented in the introduction. Chapter two presents the theoretical background of the... [to full text] / Šiame darbe nagrinėjamos slengo kalbos kaip charakterizavimo priemonės vertimo strategijos airių rašytojos Marian Keyes „chick lit“ romano „Ar ten kas nors yra?“ („Anybody Out There“, 2006 m.) lietuviškame vertime. „Ar ten kas nors yra?“ 2007 m. į lietuvių kalbą išvertė vertėja Regina Šeškuvienė. Pagrindinės romano herojės yra moterys, kurios įvairiose gyvenimo situacijose vartoja slengo žodžius ir keiksmažodžius. Šiuo aspektu jos yra nutolusios nuo tradicinių romano herojų, kurios vartojo gražią, taisyklingą kalbą. „Chick lit“ žanro moterims keiksmažodžiai yra būdas išreikšti savo požiūrį, jausmus ir emocijas. Paprasto ir specifinio slengo žodžių vartojimas joms padeda išvengti formalumo pokalbiuose, parodyti draugiškumą, familiarumą bei leidžia nevaržomai kalbėti tokiomis nepatogiomis temomis kaip seksualinė orientacija ar priklausomybė narkotikams. Slengo kalba romane „Ar ten kas nors yra?“ tampa svarbia herojų charakterizavimo priemone, todėl šio darbo tikslas – išanalizuoti, kaip romano herojų kalba atskleidžia jų charakterį originaliame tekste ir vertime. Šį darbą sudaro dvi pagrindinės dalys – teorinė ir praktinė analizės. Darbo tyrimo medžiaga ir tikslas yra pristatomi įžangoje. Antrą teorinės dalies skyrių sudaro keturi poskyriai, kuriuose aptariama slengo kilmė, apibrėžimas, slengui būdingi požymiai, slengo funkcijos ir slengo kalbos klasifikacija. Šiame skyriuje taip pat yra apžvelgiamos slengo kalbos vertimo problemos ir vertimo strategijos. Trečiame skyriuje... [toliau žr. visą tekstą]

This essay examines Marian Keyes's views on love, happiness, setbacks and unfaithfulness which are common themes in her novels. These themes are discussed in Keyes's chick lit novels "Watermelon" and "Lucy Sullivan is getting married". Some background information about this genre is also presented. Finally, it becomes evident that Marian Keyes has used a lot of her own experiences when writing these novels, in terms of love, happiness and obstacles in finding love and happiness. / <p>Validerat; 20101217 (root)</p>

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Edna O'Brien and Marian Keyes are two sexually candid female writers. They are both from Ireland and their novels have caused many spectacular headlines over the years. These female authors have been greatly acclaimed, but also sharply criticised for their outspoken way of writing. However they have enjoyed huge success and their novels have been read by many people. This essay will focus on two of the many novels written by these Irish authors: The Country Girls by Edna O'Brien and Anybody Out There? by Marian Keyes. In the following essay I will focus on Irish women represented in the novels of Keyes and O'Brien, and their relation to men but also to their daughters. In these novels, women are forced into strict gender roles, very different from those of men. Still, even though the older women in the novels are trapped in their roles, they encourage their daughters to develop and grow beyond such roles. I would argue that the novels and also the feminist actions that still occur in Ireland are built upon a long time of subordination for women, and also from the twisted structure in many of the Irish men-women-relationships. I would argue that the rules and roles created in historical Ireland, have formed an inequality between the sexes that still exists.

The thesis looks at the Czech life of the Flowers for Algernon short story written by Daniel Keyes. It aims to present an analytical comparison of the short story translations and dramatizations created in the Czech cultural environment and to define their invariants. The theoretical part of the thesis informs the reader about the life and work of Daniel Keyes and depicts the process of creation of the short story in question. Furthermore, it outlines its main themes and stylistic features, as well as its reception both in the U. S. and abroad. Special attention is paid to the reception in Czechoslovakia, or rather the Czech Republic, namely to the two short story translations (Černý, 1976; Markus, 2003) and the three original dramatizations (Říhová, 1988; Hruška, 1993; Heger, 2010). All pieces of work are presented in their broader socio-cultural context, with due regard to their authors. This contextualisation lays the foundations for the subsequent translatological analysis, which is based on Gideon Toury's descriptive model (1995). In accordance with Toury, the Czech short stories are seen as products of the target culture. Therefore, the assumed translations are first assessed in terms of their acceptability in this culture and these hypotheses are then tested by means of comparison of...

Orientador: Maria Viviane do Amaral Veras / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-22T06:00:41Z (GMT). No. of bitstreams: 1 Kushida_LeticiaYukariIwasaki_M.pdf: 1996206 bytes, checksum: 4caa644c0caa472d7af0d90f3cdd0de7 (MD5) Previous issue date: 2013 / Resumo: Esta dissertação tem como objetivo refletir sobre tradução e sobre o trabalho de escuta do tradutor por meio da elaboração de uma tradução de Flowers for Algernon (1966), romance de ficção científica, escrito pelo estadunidense Daniel Keyes. Uma das hipóteses deste trabalho é a de que a escuta do outro e de si mesmo em cada língua mobiliza, de certa forma, um tipo de ética da tradução. O livro conta a história de Charlie Gordon, um homem com deficiência intelectual que se submete a um experimento científico, uma cirurgia para elevar seu quociente de inteligência (QI). A narrativa em primeira pessoa é caracterizada por aspectos textuais de uma pessoa com dificuldades de escrita da língua inglesa e que apresenta mudanças gradativas na qualidade dessa escrita à medida que o experimento surte o efeito esperado. No romance de Keyes, interessa-nos a exigência da voz do tradutor, uma prova que passa pela literatura, mas que pede outro tipo de criação que não aquela que tradicionalmente reconhecemos como artística. Diante dessa prova de tradução, surgem indagações como: de que maneira traduzir esses "escritos" de Charlie? Como lidar com as dificuldades de escrita de uma língua em outra? Essas perguntas fazem-nos refletir sobre o erro e o preconceito linguísticos, o sentido, a carga, o fardo de termos que hoje são considerados pejorativos, mas transportados de um tempo em que a linguagem não era tão monitorada e o preconceito era naturalizado. Tudo isso leva a uma reflexão sobre ética em tradução: que ética pode conduzir uma tradução de Flowers for Algernon? Na impossibilidade de defini-la no ponto de partida da tradução, tal ética só poderá ser pensada na zona fronteiriça entre o traduzível e o intraduzível, assim como entre o dizível e o indizível, durante a tradução e ao final dela, de tal modo que só terá sido mostrada ao final do trabalho / Abstract: The aim of this thesis is to contemplate translation and the work of translator's act of listening by means of translating Flowers for Algernon (1966), a science fiction novel written by Daniel Keyes. One assumption made in this paper is that the act of listening to oneself and the other necessitates thinking about translation ethics. Flowers for Algernon is a novel about Charlie Gordon, a mentally disabled man who is the subject of a scientific experimental surgery designed to raise his intelligence quotient (IQ). The first-person narrative employs textual characteristics of a person with writing difficulties, which gradually diminish as the experiment begins to take effect. In the translation of Keyes's novel, the demand of the translator's voice is of primary interest, as it requires a kind of creation other than that which is considered artistic. Through this experience, the following questions are raised: how can one translate Charlie's "writing"? How should a translator manage writing problems from one language in another? These questions lead to thinking about linguistic mistakes and prejudice, and the sense, charge, and burden of words that are considered disparaging nowadays, but are to be transported from a time in which language was less monitored and prejudice was commonplace. All of this calls upon an ethical reflection in translation. Which ethics should be considered in translating Flowers for Algernon? If answering this question at the start of translation is impossible, such ethics can only be thought in the borderlands between the translatable and untranslatable, the speakable and unspeakable, and during the translation and upon its completion, which will be explored at the end of this paper / Mestrado / Teoria, Pratica e Ensino da Tradução / Mestre em Linguística Aplicada

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