S’appuyant sur la théorie du polysystème d’Itamar Even-Zohar, la présente thèse a pour objet l’étude de la traduction et de l’adaptation des pièces de Molière en Chine. Le propos de l’auteure est de se centrer sur l’influence qu’exercent les facteurs sociohistoriques dans la transmission des œuvres du grand dramaturge français dans l’Empire du Milieu, en particulier en dégageant les caractéristiques dominantes de chaque époque. Ce travail comporte trois parties. La première, après un aperçu des premières rencontres entre le théâtre occidental et le public chinois à la fin du 19e siècle et au début du 20e siècle, est consacrée à l’étude de la première version chinoise de la pièce L’Avare. Ensuite, la traduction chinoise des œuvres de Molière à l’époque moderne (entre 1919 et 1949) est envisagée sous l’angle de deux questions : pourquoi le Mouvement de la Nouvelle culture semble-t-il avoir tant succombé à la tentation littéraliste, et pourquoi cette stratégie a-t-elle cédé le pas à l’adaptation dans les décennies suivantes ? Enfin, la dernière partie se focalisera sur le destin du théâtre moliéresque en Chine contemporaine. Les comédies de Molière ont été d’abord promues par le régime au rang du canon littéraire avant d’être totalement exclues de la scène chinoise pendant la Révolution culturelle, pour finalement revenir en grâce et susciter de nouveaux essais de traduction ou d’adaptation / Based on the Polysystem Theory of Itamar Even-Zohar, this thesis aims to study the translation and adaptation of Molière’s theatre plays in China. The purpose of the author is to focus on the influence of the socio-historical factors in the transmission of the works of the great French playwriter in China, and identify the dominant traits of the translation and adaptation of each era. This thesis is divided into three parts. The first part, after a preview of the first encounter between the western theater and the Chinese public in the late 19th and early 20th century, is dedicated to the study of the first Chinese version of the play L’Avare. Then, the Chinese translation of Molière’s works in the modern era (between 1919 and 1949) is considered in terms of two questions: why the translators during the New Culture Movement couldn’t resist the literalist temptation, and why this strategy has given way to adaptation in the next decades? The last part focuses on the fate of the Molière’s plays in contemporary China. Molière’s comedies were first promoted by the regime to the rank of literary canon before being entirely excluded from the Chinese scene during the Cultural Revolution. With the end of political disorder, his plays have aroused interest among the Chinese public, and have encouraged new translations or adaptations

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When European childrens literature is adapted to North American film, parts of the stories are removed and changed in the hopes of producing something that will be considered acceptable in the target culture. Much of what is educational and cultural in the stories to begin with is removed through the process of adaptation leaving the finished product devoid of its originality and cultural authenticity. These oversimplified stories are what children in North America grow up with and believe to be original. This thesis examines the adaptation of the following classic childrens stories to film: Charles Perraults Bluebeard (1697); Lewis Carrolls Alices Adventures in Wonderland (1865) and Through the Looking-Glass and What Alice Found There (1871); and Carlo Collodis Le Avventure di Pinocchio (1883).

Thesis (DLitt (Afrikaans and Dutch))--University of Stellenbosch, 2010. / ENGLISH ABSTRACT: This dissertation explores Antjie Krog as translator within the Afrikaans and English literary field in South Africa. The focus of the study is primarily on Krog’s translation of her own work, namely her prose works Country of my skull and A change of tongue/’n Ander tongval, and poetry Down to my last skin, die sterre sê ‘tsau’/the stars say ‘tsau’ and Verweerskrif/Body bereft. Although Krog is also renowned for her work as translator of others’ work, the concept self translation is particularly relevant for this study: to write through translation and translate through writing. The study has a dual objective: on a polysystemic level Krog’s position and status as translator and that of her translation products within the Afrikaans and English literary field in South Africa is researched; on a sociocultural level Bourdieu’s concept habitus is employed in order to explore the underlying force behind Krog’s translation process. The focus throughout is on Krog’s double writing, the overlapping of the act of writing and the act of translating as it resonates on textual and metatextual level. Although a Bourdieusian reading of translations is a relatively unexplored terrain in the South African translation field, this study aims to add fresh insights into a dispositional view of the translator in his or her space within the literary field. In the course of this study philosophical concepts of Deleuze and Guattari, Kristeva and Bhabha are employed. Deleuze and Guattari’s concept minor literature is employed insofar the act of translation and the translation product reflects a different subjectivity. Kristeva’s concept the abject is likewise explored in the way it is reflected in Krog’s writing and translating. In the end it is argued that Krog, when writing in her non-mother tongue and when translating, is situated in a hybrid space, an in-between space. This study thus shifts from a polysystemic analysis of Krog’s translation products to a more individual approach and the notion that Krog’s habitus as writer is inextricably linked to her habitus as translator; that translation is an embodied process. / AFRIKAANSE OPSOMMING: Hierdie proefskrif is ’n studie van Antjie Krog as vertaler binne die Afrikaanse en Engelse literêre veld in Suid-Afrika. In hierdie studie word daar slegs op Krog se vertaling van haar eie werk gekonsentreer, naamlik die prosawerke Country of my skull en A change of tongue/’n Ander tongval, en die poësie Down to my last skin, die sterre sê ‘tsau’/the stars say ‘tsau’ en Verweerskrif/Body bereft. Hoewel Krog ook as vertaler van ander skrywers se werk bekend is, is dit veral die konsep selfvertaling wat in hierdie studie van belang is: om te skryf deur vertaling en vertaal deur te skryf. Die studie neem ’n tweeledige vorm aan: op ’n polisistemiese vlak word die posisie en status van Krog as vertaler, en ook van haar vertaalprodukte binne die Afrikaanse en Engelse literêre veld in Suid-Afrika ondersoek; op ’n sosiokulturele vlak word Bourdieu se konsep habitus ingespan ten einde die onderliggende dryfvere agter die vertaalproses van Krog te ondersoek. Die deurlopende fokus is op die dubbele skrywerskap van Krog; die oorvleueling van die skryfhandeling en vertaalhandeling soos dit op tekstuele en metatekstuele vlak resoneer. Alhoewel ’n sosiokulturele (Bourdieuaanse) lesing van vertaaltekste ’n relatief onbekende terrein in Suid-Afrikaanse vertaalteoretiese kringe is, wil hierdie studie aantoon dat ’n disposisionele beskouing van die vertaler in sy of haar ruimte binne die literêre veld vars insigte bring. Deur die loop van die studie word filosofiese konsepte van Deleuze en Guattari, Kristeva en Bhabha betrek. Deleuze en Guattari se denkinstrument van ’n mineurletterkunde word ingespan sover die vertaalhandeling en -produk ’n andersoortige subjektiwiteit weerspieël. Hierbenewens word Kristeva se konsep van die abjekte in Krog se skryf- en vertaalhandeling ondersoek. Uiteindelik word dit aangevoer dat Krog as vertaler binne ’n hibriede ruimte, ’n tussenruimte funksioneer wanneer sy in Engels skryf en wanneer sy vertaal. Hierdie studie beweeg dus van ’n polisistemiese ondersoek na Krog se vertaalprodukte tot by ’n meer individuele ondersoek na die beskouing dat Krog se habitus as skrywer onlosmaaklik verbind is aan haar habitus as vertaler, en dat die proses van vertaling ’n beliggaamde proses is.

The purpose of this thesis is to contribute to a better understanding of the role of Swedish literature for adolescents in the French literary scene in the early 2000s. The sociology of literature constitutes the main theoretical framework of this thesis. Drawing from examples that broach the sensitive topic of "unprovoked violence" as it is treated in two Swedish novels for teenagers, Spelar död [Play Death] by Stefan Casta and När tågen går förbi (Train Wreck) by Malin Lindroth, this thesis shows how these novels are innovative in Even-Zohar’s sense of the term, as addressed in his Polysystem Theory (1990). By introducing "unprovoked violence" and violent teenagers via a realistic genre, such works filled a vacuum in the French system and injected a new dynamic into it. This dynamic makes it possible for new literary models to be introduced in the system and to change the standards of that system. The analyses of the French and Swedish receptions of the two novels mentioned above show that they gave rise to a moral panic in France, which is not an unusual thing to happen in periods of ongoing change. This also clarifies the differences in norms between the two systems. The French system tends to reject dark topics, while the Swedish wishes to discuss them. The investigations of the translations of unprovoked violence show that adherence to Swedish norms determine the translation’s adequacy (Toury), which may be part of the reason for the stormy reception the two works received in France, and their undergoing censure. The position of translators and publishers in the literary system also plays a major role for a translated text not being censured during the transfer from one system to another. Even if the Swedish titles translated into French are few, this thesis shows that the impact of Swedish literature on adolescents in France is certain. By introducing new and sensitive topics, such novels could be early markers of an evolution of the French field of literature for adolescents.

Abstract Research on the translation of children’s literature in South Africa is currently in its nascent stages. This study aims to provide a comprehensive descriptive overview of current practices in the translation of children’s literature in South Africa, particularly against the backdrop of the educational context. It espouses a broadly causal view of translation, but also encompasses a comparative and process model (see Chesterman, 2000). Translation is used to a significant degree in the production of children’s books in South Africa. However, it is not clear exactly to what degree translation is utilised, nor is there any information available about how translation contributes to the production of children’s books in South Africa. This study addresses these questions. Based on survey research among publishers, and the analysis of publishing data, it finds that there are significant differences between the ways in which translation is used in the production of children’s books in the various languages in South Africa. Specifically, translation is used much more extensively in the African languages than in Afrikaans and English, with a correspondingly lower incidence of original production in the African languages. Furthermore, the educational discourse has a profound effect on the uses of translation in the production of children’s books in South Africa. However, the educational discourse has a greater determining effect on the production of books for children in the African languages than in Afrikaans and English. Theoretical discourse surrounding domestication and foreignisation is particularly problematic in the South African context, and findings from a survey among translators indicate that translators from different language groups have different opinions about whether children’s books should be translated using domesticating or foreignising approaches. The above findings broadly deal with the contextual dimension. They are concerned with how social, ideological and material factors and discourses affect the ways in which translation is used in the production of children’s books in South Africa. At this point the matter of translation theory is introduced. It is questioned to what degree contemporary context-oriented translation theory manages to provide a satisfactory explanation of the South African situation. It is argued that polysystem theory and Toury’s (1995) concept of translation norms provides some explanation of the translational dynamics evident in the production of children’s books in the different languages in South Africa. However, some aspects of the South African situation do not neatly “fit” into polysystem theory, and some parts of the theory therefore have to be mediated or reconsidered, particularly utilising postcolonial and more ideologically sensitive perspectives, to satisfactorily account for the South African situation. This reconsideration leads to a conception of the relationship between translation and its context that is less binary and determinist, with a greater emphasis on hybridity and fluidity. This contextual dimension of the study spills over into the textual dimension. All of the above contextual and process-oriented factors finally find their precipitation in actual translations. By means of close analysis of a sample of 42 (21 translations and their source texts) English and Afrikaans children’s books intended for leisure reading and for educational reading, this part of the study investigates the norms evident in the selection of children’s books for translation, as well as the operational norms evident from the translations. The key questions here are why particular texts are selected for translation, and how cultural markers in these texts are handled in translation. The analysis demonstrates that the selection of books for translation (preliminary translation norms) is dependent on contextual as well as textual factors, with ideology and function playing particularly important roles. These roles differ for different types of books, books of different origins, and books in different language pairs. In terms of the operational norms, translators’ opinions about domestication and foreignisation do not necessarily correspond to translation practices. Rather than an exclusive, binary adherence to domesticating and foreignising approaches, analyses of the operational norms evident in translated children’s books demonstrate a hybridised mix of domesticating and foreignising strategies, which vary according to the type of book, the origin of the book, and the language pair involved in the translation process.

Denna uppsats består av en längre översättning av förordet samt de tre första kapitlen ur den populärvetenskapliga boken The Forger’s Spell (2009) från engelska till svenska. Till det följer ett avsnitt med kommentarer på översättningsproblem som uppstod under processen. Syftet med denna uppsats är att etablera en lämplig översättningsprincip sett till faktorer som textens genre, position i polysystemet och stilistiska drag samt att skapa en målspråksanpassad översättning. Det översättningsteoretiska ramverket består av Even-Zohars (2012) polysystemteori, där översatt sakprosa befinner sig på en sekundär position i det svenska litterära systemet, vilket pekar mot en målspråksinriktad översättning. Vidare bygger det också på Nidas (2012) dynamiska ekvivalensteori, vars mål är att skapa en ekvivalent läsupplevelse för målspråksläsaren. Ramverket, tillsammans med en analys av källtexten låg till grund för översättningsprincipen som var att skapa en målspråksinriktad översättning. Något som framkom i processen var det faktum att denna översättning innebar en överföring mellan tre kulturer och några intressanta problem uppstod relaterat till detta. Syftet med uppsatsen uppfylldes, en teoretiskt förankrad princip etablerades och en översättning utformades nära utefter den, vilket resulterade i en målspråksanpassad, dynamiskt ekvivalent översättning. / This essay contains a longer translation of an excerpt from English to Swedish of the popular science book The Forger’s Spell by Edward Dolnick, with comments on translation issues that surfaced during the process. The purpose of the essay was to establish a translation principle, suitable for the book’s genre, position within the polysystem, stylistic features as well as creating a target language-oriented translation. The theoretical framework for the essay consisted of Even-Zohar’s polysystem theory, by which translated non-fictional prose has a secondary position within the Swedish literary system. This points to it being translated in a target language-oriented manner. It also builds upon Nida’s dynamic equivalence, by which the goal is to create an equivalent reading experience for the target language reader as the source language reader had. This framework, combined with a textual analysis performed on the source text laid the foundation of the translation principle, which was to create a target language-oriented translation. The fact this translation meant a transmission of three different cultures emerged during this process, and some interesting problems related to this needed solving. The purpose of the essay was fulfilled, a theoretically grounded translation principle was established, and a translation was produced closely from it which resulted in a target language oriented, dynamically equivalent translation.

La recherche présentée dans le cadre de ce mémoire porte sur le développement de la Théorie linguistique de la traduction telle qu’élaborée par des traducteurs soviétiques à partir des années 1950. Ce mémoire vise à démontrer les particularités de l’évolution des connaissances traductologiques sous la pression politique, idéologique et institutionnelle du régime soviétique (1922-1991). En particulier, le travail cherche à expliquer les raisons qui ont abouti à l’isolement théorique de la traductologie russe. À partir de la théorie du polysystème littéraire d’Even-Zohar et de son analyse de la structure des systèmes littéraires, ce mémoire examine la structure et l’évolution des différents facteurs (producteur, institutions, produit, répertoire, marché) qui ont façonné la configuration spécifique de la Théorie linguistique de la traduction en tant que produit du système soviétique de traduction, tel qu’il se développe dans les conditions particulières du polysystème littéraire soviétique. L’analyse des travaux des auteurs dits « canonisés » de l’approche linguistique russe (Fyodorov, Retsker, Švejtser, Barkhoudarov, Komissarov) permet de montrer comment la Théorie linguistique de la traduction s’est imposée comme la seule théorie capable de survivre au contexte soviétique de pression idéologique et de contrôle total du régime communiste. Ce sont ces facteurs qui expliquent aussi le décalage théorique et institutionnel observé entre les traductologies russe et occidentale. / The research presented in this work focuses on the development of the Linguistic Theory of Translation as initially formulated by Soviet translators in the 1950s. The goal of this study is to analyse the particular evolution of translation scholarship in the Soviet era (1922-1991) in a context of political, ideological and institutional pressure and control. Besides, this work seeks to clarify the reasons why the Russian approach to translation became isolated from other theoretical developments in the field. Based on Even-Zohar’s theory of literary polysystem and his analysis of the structure of literary systems, this thesis examines the various factors (producer, institutions, product, repertoire, market) whose changing configuration conditioned the development of the Linguistic Theory of Translation, as a product of a specific translation system within the Soviet literary polysystem. Our analysis of the works of “canonical” theoreticians of the Russian linguistic approach to translation (Fyodorov, Retsker, Švejtser, Barkhoudarov, Komissarov) shows that the Linguistic Theory of Translation was the only theory that could survive the Soviet context of ideological pressure and total control of the communist regime. These very factors, we also argue, explain the theoretical and institutional gap that separates the Russian Linguistic Theory from Western approaches to translation.

Uppsatsen redogör för översättningen av en novell skriven av Stephen King. Förutsättningar för vald översättningsprincip är polysystemteori, deskriptiv översättningsvetenskap, tänkt målgrupp och resultatet av en stilanalys av källtexten där en riklig förekomst av bildspråk tydliggjordes. En analys av bildspråk i måltexten visade på en övervägande adekvansinriktad översättningsstrategi och på Stephen Kings status i målkulturen som hög snarare än låg. Problem under översättningsprocessen var främst översättningen av bildspråk. / This study deals with the translation of a short story written by Stephen King. Prerequisites for the selected translation principle were polysystem theory, descriptive translation studies, intended audience, and the result of a style analysis of the source text in which an abundance of imagery was clear. An analysis of the imagery in the target text found that a predominantly adequacy-oriented translation strategy was used and that Stephen King's status in the target culture can be viewed as high rather than low. Problems during the translation process were mainly associated with the translation of imagery.

Dizertační práce Miguel José Cuenca Drouhard ABSTRACT Key words: translation, Czech literature, 20th century, polysystem theory, censorship, history of translation, Čapek, War with the newts History as a scientific tool contributes in a unique manner to the evolution of mankind, its activities and ideas, because mankind, in contrast to things, is formed by its past. In the field of translation studies, History of Translation is perceived as a valuable instrument for understanding the complexity of translation work, and its importance among creative activities and within society in general. Among theories concerning human activities and translation in particular, polysystem theory is characterised by a descriptive and systemic approach that is rooted in Russian formalism and Czech structuralism. Polysystem theory emphasises the dynamic and heterogeneous nature of systems as opposed to the static, homogenous and ahistorical nature of systems which has wrongfully been attributed to the structuralists. Translation activities and its products are mainly part of the target culture's polysystem, because the translation process culminates in the target culture with the final reception and interpretation of the original work, in which in this phase the repertoire of the target system is incorporated. Despite the...