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  • About
  • The Global ETD Search service is a free service for researchers to find electronic theses and dissertations. This service is provided by the Networked Digital Library of Theses and Dissertations.
    Our metadata is collected from universities around the world. If you manage a university/consortium/country archive and want to be added, details can be found on the NDLTD website.
21

Pun recognition in L1 and L2 readers : Seven days without a pun makes one weak

Burns, Erik January 2010 (has links)
Language play has an important position in the use of language. Cook (in Lucas, 2005) makes the argument that language play is even one of the primary uses of language. Partly due to the focus on research in second language learning, advanced L2 users’ language processing gets little attention in research on language use (Shaw & McMillion, 2008). Therefore, there is limited knowledge regarding the reading processes of this group.  While Shaw and McMillion (2008) show that there is no difference in language proficiency between L1 and advanced L2 readers, Paradis (2009) argues that there indeed is a difference in processing among L1 and advanced L2 speakers. Gernsbacher and Robertson (1995) examined the differences in processing between more and less skilled L1 readers using ambiguous words and puns. However, this kind of research has not been done for L1 and advanced L2 readers.  A study concerning the speed and ability in pun recognition was carried out to investigate whether any differences could be found between L1 and advanced L2 readers, with the same language proficiency. Tests in accuracy and speed in recognizing puns were carried out with university students in Stockholm and Los Angeles, while a survey investigating degree of amusement was distributed online.  Initial hypotheses assumed that L1 readers, compared to L2 readers, would be both more skilled and faster at identifying a number of categories of puns as well as perceiving all categories of puns as being more amusing. Results show support for some of these hypotheses: L1 speakers were faster and more accurate in finding certain categories of puns. However, other categories showed no difference, and results were not able to prove differences in degree of amusement between the two groups. Questions about other categorizations of puns are raised, as well as further research opportunities.
22

Shun the Pun, Rescue the Rhyme? : The Dubbing and Subtitling of Language Play in Film

Schröter, Thorsten January 2005 (has links)
<p>Language-play can briefly be described as the wilful manipulation of the peculiarities of a linguistic system in a way that draws attention to these peculiarities themselves, thereby causing a communicative and cognitive effect that goes beyond the conveyance of propositional meaning. Among the various phenomena answering this description are the different kinds of puns, but also more strictly form-based manipulations such as rhymes and alliteration, in addition to a host of other, sometimes even fuzzier, subcategories.</p><p>Due to its unusual nature, and especially its frequently strong dependence on the idiosyncrasies of a particular language, language-play can generally be assumed to constitute a significant challenge in a translation context. Furthermore, given its non-negligible effects, the translator is not free to simply ignore the language-play (provided it has been recognized as such in the first place) without having taken an active stance on its treatment. However, the difficulties in finding a suitable target-language solution are possibly exacerbated if the source text is a complex multimedia product such as a film, the translation of which, normally in the form of dubbing or subtitling, is subject to additional constraints.</p><p>In view of these intricacies, it has been the aim of this study to analyze and measure how language-play in film has actually been treated in authentic dubbing and subtitle versions. As a prerequisite, the concept of language-play has been elaborated on, and more than a dozen subcategories have been described, developed, and employed. For the purpose of carrying out a meaningful analysis of the dubbing and subtitling of language-play, a corpus has been compiled, comprising 18 family films and 99 of their various target versions, most on DVD, and yielding nearly 800 source-text instances of language-play and thousands of translation solutions.</p><p>The results indicate that especially two sets of factors, among the many that are likely to influence a translation, play a prominent role: the type of the language-play, and the identity and working conditions of the translator. By contrast, the mode of translation (dubbing vs. subtitling), the target language, or the general properties of the films, could not be shown to have a sizeable impact.</p>
23

A Liminal Existence, Literally : A Deconstruction of Identity in Diana Wynne Jones’ Howl’s Moving Castle

Stenberg, Felicia January 2018 (has links)
This essay examines the inherent instability present in Diana Wynne Jones’ 1986 novel Howl’s Moving Castle. I suggest that in relying on the ambiguity of the story and the setting, Jones creates not only a more complex universe, but allows the characters to be multidimensional -- both literally and figuratively -- without having any stable selves. Using deconstruction as a (non-existent) foundation for my analysis, I contend that the strength of the story is in the looseness of it. Thus, by using a Derridean approach with added Cixousian feminist elements and a heap of Kristevian intertextuality, I further argue that Jones invites the reader to embrace the ambiguity of identity by closely analyzing the conflicting behaviours of the two main characters in the novel, Sophie Hatter and Wizard Howl. In conclusion, I argue that Diana Wynne Jones through subverting classic fairy tale tropes in an ingenious way, suggests that there is no such thing as a final finished growing person and that there is comfort to be found in embracing this incompleteness.
24

Shun the Pun, Rescue the Rhyme? : The Dubbing and Subtitling of Language Play in Film

Schröter, Thorsten January 2005 (has links)
Language-play can briefly be described as the wilful manipulation of the peculiarities of a linguistic system in a way that draws attention to these peculiarities themselves, thereby causing a communicative and cognitive effect that goes beyond the conveyance of propositional meaning. Among the various phenomena answering this description are the different kinds of puns, but also more strictly form-based manipulations such as rhymes and alliteration, in addition to a host of other, sometimes even fuzzier, subcategories. Due to its unusual nature, and especially its frequently strong dependence on the idiosyncrasies of a particular language, language-play can generally be assumed to constitute a significant challenge in a translation context. Furthermore, given its non-negligible effects, the translator is not free to simply ignore the language-play (provided it has been recognized as such in the first place) without having taken an active stance on its treatment. However, the difficulties in finding a suitable target-language solution are possibly exacerbated if the source text is a complex multimedia product such as a film, the translation of which, normally in the form of dubbing or subtitling, is subject to additional constraints. In view of these intricacies, it has been the aim of this study to analyze and measure how language-play in film has actually been treated in authentic dubbing and subtitle versions. As a prerequisite, the concept of language-play has been elaborated on, and more than a dozen subcategories have been described, developed, and employed. For the purpose of carrying out a meaningful analysis of the dubbing and subtitling of language-play, a corpus has been compiled, comprising 18 family films and 99 of their various target versions, most on DVD, and yielding nearly 800 source-text instances of language-play and thousands of translation solutions. The results indicate that especially two sets of factors, among the many that are likely to influence a translation, play a prominent role: the type of the language-play, and the identity and working conditions of the translator. By contrast, the mode of translation (dubbing vs. subtitling), the target language, or the general properties of the films, could not be shown to have a sizeable impact.
25

Translating Expressive Prose using CAT Tools : An investigation into discerning the effects of segmentation in student translations

von Rettig, Anna January 2014 (has links)
Computer Assisted Translation tools continue to become more ubiquitous, but translation students do not necessarily receive much training in using them, and may therefore find translating when using them very different to translating freehand. An experiment was conducted where a three Master’s students were each asked to translate two texts; one in a CAT tool and the other freehand, and the resulting target texts were inspected to determine whether they may have been affected by the segmentation performed by the CAT tool compared to freehand translations of the same text, and if so, how. There were indications that in certain cases, such as very long sentences, the CAT tool may act as a visual aid, and also indications that certain students may be more prone to follow the segmentation provided by the CAT tool than others. However, the influence of personal translator style and translator’s habitus cannot be disregarded and as such the differences that are apparent cannot be entirely attributed to the CAT tool.

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