本論文以Gulliver’s Travels晚清時期的中譯本《海外軒渠錄》（1906）為研究對象，探討譯者對原文諷刺手法的翻譯策略。Gulliver’s Travels 是西方諷刺（satire）文學經典之作，主要通過「敘事角色」（persona）以及「想像遊記」（imaginary voyage）的手法取得諷刺效果。晚清時期中西文學傳統殊異，想要在中文語境中再現原文的諷刺特點，並非易事。本論文通過具體的文本對比和分析發現，由於中國文學傳統以及晚清翻譯規範的影響，譯者在翻譯過程中改寫原文，因此《海外軒渠錄》未能體現Gulliver’s Travels的諷刺手法，而譯文也從一個側面展示出中西文學相互碰撞、對話的過程。本研究希望藉此個案，從文學表現以及文學交流的角度再論晚清小說翻譯。 / This thesis examines one late Qing Chinese translation of Gulliver’s Travels in 1906, namely Haiwai Xuanqulu 海外軒渠錄. The study focuses on how the literary devices of satire employed in the original text were rendered into Chinese by the late Qing translators. These devices include a narrative "persona" and the "imaginary voyage" structure. It is a challenging task for the translator to fully render these literary techniques into Chinese in late Qing period when the Western and Chinese literatures were remarkably different. Through detailed text comparison and analysis, we find that, influenced by Chinese literature tradition and late Qing translation practice, the translators made changes in translation in a way that the original satirical effect was not retained in the translated work. The translation also reflects in some degree the clash and dialogue between Western and Chinese literatures. This thesis aims to explore late Qing fiction translation from the perspective of literary transmission. / Detailed summary in vernacular field only. / 季凌婕. / Thesis (M.Phil.) Chinese University of Hong Kong, 2014. / Includes bibliographical references (leaves 84-93). / Abstracts also in Chinese. / Ji Lingjie.

Presently in South Africa there are no home-grown models of interpreting developed for court interpreters to serve as a guide in the performance of their duty. As such, it was assumed that court interpreters depended on international models to guide them in their work. International models, though they speak to the profession of interpreting in general, lack the specificity that is required to speak to the South African context, leading to problems during the process of interpreting. In the light of this background, this study aimed to: investigate how international models were formulated, by whom and why; establish how South African court interpreters perceive the phenomenon of interpreting and the challenges they encounter in the field; examine how the international models of interpreting function in the South African context and their impact in the courts of law; and formulate an interpreting model that is informed by South African languages, cultures and court experiences. Two theoretical frameworks guided this study: Descriptive Translation Studies (DTS) and Cultural Studies. The former was used to describe what transpires in the South African court system with regard to interpreting, while cultural studies theory was used to explore cultural issues in this field. In order to fulfil the aims of the study, the qualitative research method was adopted to collect and analyse data. Data was collected from practising court interpreters using four methods: focus groups, questionnaires, courtroom observations and interviews. The selected methods were used to collect data so that a balanced and integrated view of interpreting could be sought for the purposes of developing a representative model. The findings of the study showed that there is a fairly balanced representation of men and women working as court interpreters, yet more than three quarters of these are not trained in languages and in court interpreting. This points to an urgent need to train court interpreters so that they may carry out their duties effectively. In defining a court interpreter, diverse definitions were provided; these included facilitator of communication, language facilitator, conveyor of messages, helper in the courts, and mediator among others. Most of these definitions were in line with international models but the definitions were born out of experience and not training because, when asked directly what interpreting models are, almost none of the participants could define a model and gave examples of modes of interpreting in place of models per se. Because models of interpreting serve as a guide for the court interpreters, a lack of knowledge thereof shows that South African court interpreters work without guidance, emphasising the need to develop a local model that addresses the needs of the country. In defining court interpreting, diverse definitions were also provided; the most interesting was the perception of court interpreting as a communication process that involves listening, analysing, taking down notes, remembering, and presenting the message to the target listener. Although not many held this view, this definition showed that through experience and practice, court interpreters gain useful knowledge about their trade; thus, experience cannot be downplayed in the field. With regard to the roles and duties of court interpreters, it was noted that they perform different duties which are in conflict with their job title. Beyond the fact that this proves that there is controversy over the duties of court interpreters, the findings show that court interpreters are not treated as the professionals that they are. In line with the findings, the researcher developed a socio-linguistic-cultural model that put emphasis on training of court interpreters, language, culture and subject knowledge. The method of trial and error that is currently prevailing in South Africa was strongly condemned in the study. The study recommended that court interpreters be trained, the DoJCD should recruit qualified interpreters, legislation on court interpreting should be developed as well as setting up a court interpreting professional body to which all court interpreters must subscribe and be members, among others. / Linguistics and Modern Languages / D. Litt. et Phil.(Languages, Linguistics and Literature)

No description available.

Shaw, Yomei. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2008. / Includes bibliographical references (leaves 146-152). / Abstracts in English and Chinese. / Chapter Introduction: --- Definitions and Dimensions of Key Issues --- p.5-14 / Chapter Chapter One: --- An Analytical Review of Translated Drama in Hong Kong --- p.15-26 / Chapter Chapter Two: --- Authenticity and Text-based Theatre in Hong Kong --- p.27-78 / Chapter Chapter Three: --- The Global Stage: the Performance of Other Modernities --- p.79-104 / Chapter Chapter Four: --- Code-switching in Performance Contexts --- p.105-38 / Chapter Conclusion: --- "Adaptation, Transformation and Future Directions" --- p.139-45 / Bibliography --- p.146-51 / Appendix I --- p.152-54 / Appendix II --- p.155-72

University of Macau / Faculty of Social Sciences and Humanities / Department of Portuguese

University of Macau / Faculty of Social Sciences and Humanities / Department of English

published_or_final_version / abstract / toc / Linguistics / Master / Master of Arts in Applied Linguistics

Orientador: Viviane Veras / Tese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-16T15:21:06Z (GMT). No. of bitstreams: 1 Santos_OliviaA.Niemeyerdos_D.pdf: 687335 bytes, checksum: 884b61b6adcec53dc66b7f339288dea6 (MD5) Previous issue date: 2010 / Resumo: Minha tese pretende considerar a experiência da tradução de La Vérité en peinture (Jacques Derrida, 1978), em seus vários aspectos, e reconhecer, na singularidade desse ato tradutório, algumas das questões e pressupostos que percorrerem o pensamento ocidental: a oposição fora/dentro; a possibilidade/impossibilidade do encontro com o outro; o mito da origem e a restituição como apropriação. A metáfora biológica da autoimunidade, utilizada por Jacques Derrida em seus últimos textos (e articulada, por ele, à religião, à ciência e à democracia), é o ponto de partida para essa reflexão: nosso corpo possui um sistema imunológico que evita que algo de "fora" - que o estranho ou o estrangeiro (um vírus ou bactéria, por exemplo) -, uma vez "dentro" dos limites do corpo, o destrua. No entanto, em algumas ocasiões, entra em funcionamento outro sistema, autoimunológico, que ataca ou enfraquece esse mesmo sistema imunológico, permitindo que o de "fora" invada os limites do "dentro". Mas essa invasão não é sempre ou não é somente uma ameaça, um perigo. É também o que permite, por exemplo, a aceitação de um enxerto ou de um órgão retirado de outra pessoa. Permite que algo de "fora" salve o paciente. Possibilita, portanto, uma sobrevida. Sobrevida do corpo e, utilizando o conceito de autoimunidade de forma mais ampla, sobrevida da democracia, da ciência (a mudança de paradigma) ou do texto original (o comentário, a interpretação, a tradução). Procuro articular os quatros capítulos de A verdade em pintura com os quatro capítulos da tese: no primeiro, para reconhecer a complexa relação entre original e tradução a partir da lógica do parergon, considerando que a tradução trabalha sempre com o que está dentro das fronteiras do original; no segundo, para refletir sobre o ponto limite, a experiência daquilo que permanece irredutivelmente idiomático, mas que, mesmo assim, deve se entregar a uma decisão de tradução; no terceiro, para avaliar a posição do original como paradigma, suspeitando da possibilidade de uma origem absoluta ou modelo primeiro; no quarto e último capítulo, para examinar a questão do par e o desejo da tradutora de restituir "a verdade do original", levando em conta a afirmação de Derrida: "toda restituição constitui uma apropriação" / Abstract: My thesis takes into consideration the experience of translating La vérité en peinture (Jacques Derrida, 1978) in its various aspects, and in the singularity of this translation process recognises some of the questions and presuppositions which pervade Western thought: the outside/inside oppositions; the possibility/impossibility of an encounter with the fellow man; the myths of origin and restitution as appropriation. The biological metaphor of autoimmunity used by Jacques Derrida in his last texts (and blended by him, with religion, science and democracy) is the starting point for this reflection: our body has an immunologic system that is prevented from destruction by something from "outside" - something alien or foreign such as, for example, a virus or a bacterium - which may get "inside" the limits of the body. Nevertheless, on some occasions, another system - an autoimmunologic one - is activated, and it attacks or weakens this very immunologic system, allowing the "outside" to invade the limits of the "inside". Not always, or not only, though, is this invasion a threat, a danger. This is also what allows, for example, the acceptance of a grafting or an organ taken from another person. It allows something from the "outside" to save the patient. Therefore, it enables a survival - survival of the body - and, by using the concept of autoimmunity in a wider sense, survival of democracy, of science (a change in the paradigm) or of the original text (the commentary, the interpretation, the translation). I try to link the four chapters of A verdade em pintura with the four chapters of my thesis: in the first chapter, the aim is to recognise the complex relation between the original and the translation from the logical perspective of the parergon, considering that translation always deals with what is inside the frontiers of the original; in the second chapter, I reflect on the borderline, on the experience of that which remains irreducibly idiomatic, but even so should surrender to a translation decision; in the third chapter, my goal is to assess the place of the original as a paradigm, suspecting the possibility of an absolute origin or primary model; in the fourth and last chapter, I examine the original/translation dyad and the translator's wish to restitute the "truth of the original", bearing in mind Derrida's statement that "every restitution is an appropriation" / Doutorado / Teoria, Pratica e Ensino da Tradução / Doutor em Linguística Aplicada

Li Kar Wing. / Thesis (M.Phil.)--Chinese University of Hong Kong, 2001. / Includes bibliographical references (leaves 88-96). / Abstracts in English and Chinese. / ABSTRACT --- p.i / ACKNOWLEDGEMENTS --- p.v / LIST OF TABLES --- p.viii / LIST OF FIGURES --- p.ix / CHAPTERS / Chapter 1. --- INTRODUCTION --- p.1 / Chapter 1.1 --- Application of corpus-based techniques --- p.2 / Chapter 1.1.1 --- Machine Translation (MT) --- p.2 / Chapter 1.1.1.1 --- Linguistic --- p.3 / Chapter 1.1.1.2 --- Statistical --- p.4 / Chapter 1.1.1.3 --- Lexicon construction --- p.4 / Chapter 1.1.2 --- Cross-lingual Information Retrieval (CLIR) --- p.6 / Chapter 1.1.2.1 --- Controlled vocabulary --- p.6 / Chapter 1.1.2.2 --- Free text --- p.7 / Chapter 1.1.2.3 --- Application corpus-based approach in CLIR --- p.9 / Chapter 1.2 --- Overview of linguistic resources --- p.10 / Chapter 1.3 --- Written language corpora --- p.12 / Chapter 1.3.1 --- Types of corpora --- p.13 / Chapter 1.3.2 --- Limitation of comparable corpora --- p.16 / Chapter 1.4 --- Outline of the dissertation --- p.17 / Chapter 2. --- LITERATURE REVIEW --- p.19 / Chapter 2.1 --- Research in automatic corpus construction --- p.20 / Chapter 2.2 --- Research in translation alignment --- p.25 / Chapter 2.2.1 --- Sentence alignment --- p.27 / Chapter 2.2.2 --- Word alignment --- p.28 / Chapter 2.3 --- Research in alignment of sequences --- p.33 / Chapter 3. --- ALIGNMENT AT WORD LEVEL AND CHARACTER LEVEL --- p.35 / Chapter 3.1 --- Title alignment --- p.35 / Chapter 3.1.1 --- Lexical features --- p.37 / Chapter 3.1.2 --- Grammatical features --- p.40 / Chapter 3.1.3 --- The English/Chinese alignment model --- p.41 / Chapter 3.2 --- Alignment at word level and character level --- p.42 / Chapter 3.2.1 --- Alignment at word level --- p.42 / Chapter 3.2.2 --- Alignment at character level: Longest matching --- p.44 / Chapter 3.2.3 --- Longest common subsequence(LCS) --- p.46 / Chapter 3.2.4 --- Applying LCS in the English/Chinese alignment model --- p.48 / Chapter 3.3 --- Reduce overlapping ambiguity --- p.52 / Chapter 3.3.1 --- Edit distance --- p.52 / Chapter 3.3.2 --- Overlapping in the algorithm model --- p.54 / Chapter 4. --- ALIGNMENT AT TITLE LEVEL --- p.59 / Chapter 4.1 --- Review of score functions --- p.59 / Chapter 4.2 --- The Score function --- p.60 / Chapter 4.2.1 --- (C matches E) and (E matches C) --- p.60 / Chapter 4.2.2 --- Length similarity --- p.63 / Chapter 5. --- EXPERIMENTAL RESULTS --- p.69 / Chapter 5.1 --- Hong Kong government press release articles --- p.69 / Chapter 5.2 --- Hang Seng Bank economic monthly reports --- p.76 / Chapter 5.3 --- Hang Seng Bank press release articles --- p.78 / Chapter 5.4 --- Hang Seng Bank speech articles --- p.81 / Chapter 5.5 --- Quality of the collections and future work --- p.84 / Chapter 6. --- CONCLUSION --- p.87 / Bibliography

This study analyses five British translations of Bertolt Brecht's 'Mutter Courage und ihre Kinder'. Two of these translations were written by speakers of German, and three by well-known British playwrights with no knowledge of the source text language. Four have been produced in mainstream British theatres in the past twenty-five years. The study applies translation studies methodology to a textual analysis which focuses on the translation of techniques of linguistic "Verfremdung", as well as linguistic expression of the comedy and of the political dimension in the work. It thus closes the gap in current Brecht research in examining the importance of his idiosyncratic use of language to the translation and reception of his work in the UK. The study assesses the ways in which the translator and director are influenced by Brecht's legacy in the UK and in turn, what image of Brecht they mediate through the production on stage. To this end, the study throws light on the formation of Brecht's problematic reputation in the UK, and it also highlights the social and political circumstances in early twentieth century Germany which prompted Brecht to develop his theory of an epic theatre. The focus on a linguistic examination allows the translator's contribution to the production process to be isolated. Together with an investigation of the reception of each performance text, this in turn facilitates a more accurate assessment of the translator and director's respective influence in the process of transforming a foreign-language text onto a local stage. The analysis also sheds light on the different approaches taken by speakers of German, and playwrights creating an English version from a literal translation. It pinpoints losses in translation and adaptation, and suggests how future versions may avoid these.