С увеличением контактов на литературном и культурном уровнях между Китаем и другими странами, ростом интереса к китайскому языку и культуре, возникает потребность в выполнении качественных переводов художественного текста с китайского языка на другие языки. Однако из-за различий языков, менталитетов и национальных особенностей разных стран, прагматическая адаптация представляет собой особые трудности для достижения адекватности при переводе художественного перевода. Объектом нашего исследования служит прагматическая адаптация при переводе художественного текста. Предметом работы являются приемы и стратегии прагматической адаптации при передачи китайских реалий в переводе рассказа Мо Яня «Белая собака на качелях» с китайского на русский и английский языки. Данная дипломная работа состоит из введения, 2 глав, выводов по главам, заключения, списка литературы и приложения. Первая глава посвящена основной теории данного исследования, точнее, изложению теории известных лингвистов и ученых о прагматической адаптации, адекватности, художественном переводе и реалиям, выяснению понятия определения, классификации, приемов и стратегий прагматической адаптации. Во 2-ой главе мы изучаем приемы и стратегии прагматической адаптации для достижения адекватности при переводе китайских реалий в рассказе Мо Яня «Белая собака на качелях». Сначала мы исследуем авторское своеобразие данного рассказа. Затем мы анализируем разные приемы при переводе реалий в художественном тексте, и в конце сравниваем стратегии, пользуемые переводчиками. В заключении подводятся основные итоги работы. В приложениях представлены список ошибок в переводах и таблица сравнения китайско-англо-русского перевода китайских реалий. В общем, в работе конкретизируются понятия прагматической адаптации, адекватности и художественного перевода, и описываются прагматические приемы и стратегии при переводе реалий в художественном тексте, что предоставляет нам больше материалов для изучения прагматической адаптации и дает нам возможность вникать в китайскую литературу и культуру. / With the increasing contacts at the literary and cultural levels between China and other countries and with the growing interest in the Chinese language and culture, there is a need for quality translations of literary text from Chinese into other languages. Due to the differences in languages, mentalities and national characteristics of different countries, pragmatic translations of word-realities present special difficulties for literary translation. The object of study of this work is pragmatic adaptation in the translation. The subject of our study is the pragmatic techniques and strategies used in transmitting Chinese realities in the translation of Mo Yan’s story “The White Dog and the Swing”. The theoretical materials for our study were the story “White Dog and the Swing”, its translations in Russian and in English, linguistic works of translation theory, linguistic dictionaries and other articles related to our study. The work consists of introduction, 2 chapters, conclusions on chapters, conclusion, list of references and applications. The first chapter is devoted to the basic theory of this study, more precisely, the presentation of the theory of famous linguists about pragmatic adaptation, adequacy and literary translation, clarification of the concepts of definition and classification of pragmatic adaptation, adequacy of translation and the specifics of literary translation. In chapter 2, we study the techniques and strategies of pragmatic adaptation to achieve adequacy in translating Chinese realities in the story. First, we introduce the originality of the author of this story and the backgrounds of two translators. Then we define the concepts of realities and describe the classifications of Chinese realities in this story. Then we analyze rich translation examples in aspects of different realities, and in the end we compare the strategies used by translators. In conclusion, the main results of the work are summarized. The appendices present a summary of errors in the translations and a comparison table of the Chinese-English-Russian translation of Chinese realities. In general, the paper concretizes the concepts of pragmatic adaptation used by translators to achieve adequacy in translating Mo Yan’s story “The White Dog on a Swing”, and describes pragmatic techniques and strategies for conveying realities in literary translation, which gives us the opportunity to delve into Chinese literature and culture.

This thesis examines translation strategies for translating figurative language with a focus on metaphors, idioms, and phrasal verbs. Translators often state that figurative language presents challenges in the translation process. This is mainly because the translator must consider the language’s pragmatic, cognitive, and aesthetic functions. This analysis combines a modified translation approach based on Liu and Zhang (2005), Newmark (1988) as well as Lakoff and Johnson (2003). Using the strategies literal translation, transference, meaning translation, omission, and addition to reduce the loss between the source and target texts, this paper seeks to map how frequently these strategies are applied in the translation of metaphors, idioms, and phrasal verbs in the source text. This paper also discusses any potential problems arising in conjunction with these strategies. The findings of this analysis show that literal translation is the most commonly used translation strategy, in line with Liu and Zhang’s recommendations (2005). Overall, the second most frequently used strategy is transference, followed by meaning translation. This analysis also highlights interesting research gaps regarding omission and addition and encourages further research on these subjects. Greater knowledge and application of these strategies could lead not only to a better and more efficient target text but also a target text that is closer in word count to the original, thereby reducing the expansion of the source text.

En tant que moyen de communication qui détermine les structures de base des langues, la métaphore se classe parmi les enjeux les plus importants du domaine de la traductologie, d’où la complexité de la rendre traduisible. La nature indirecte de la métaphore étant problématique, celle-ci exige une étude approfondie, surtout vis-à-vis le transfert de la culture d’une langue à une autre. Un survol de la littérature académique traitant des théories et des approches différentes en traductologie révèle une façon de rendre possible la traduction de la métaphore. Cette étude traite de la traduction des métaphores du perse aux sous-titres anglais. Elle indique également les approches et les stratégies appliquées à la traduction des expressions linguistiques métaphoriques telles que proposées par Newmark (1988). En se fondant sur des exemples authentiques tirés des textes sources (deux films perses bien connus) et leurs traductions anglaises, cette étude démontre la façon dont certains traducteurs iraniens traduisent des expressions métaphoriques en se servant d’une des sept stratégies proposées par Newmark. Elle explique également comment certains éléments (par ex. les difficultés de la traduction) ont été influents sur leurs conclusions, tout en soutenant l’hypothèse que la reproduction d’une même image d’une langue source dans une langue cible ainsi que l’effacement sont respectivement la plus fréquente et la moins fréquente des stratégies employées par les sous-titreurs iraniens. / Metaphor, as a means of communication that determines the basic structures of language, is currently one of the most important issues in the field of translation studies, especially its translatability. In fact, the indirect nature of metaphors is a problem that needs to be addressed in respect to the transfer of culture from one language to another one. An overview of the literature that explores different theories and approaches in the field of Translation Studies proposes a way to make metaphor translation possible. This study examines the translation of metaphors from Persian to English subtitles. It also highlights approaches and strategies for the translation of linguistic metaphorical expressions as proposed by Newmark (1988). By using authentic examples from two source texts (two well known Persian films) along with their English translations, this study illustrates how Iranian translators translate metaphorical expressions using Newmark’s seven proposed strategies. It also shows how certain elements (i.e. translation difficulties) have influenced their decisions and supports the hypotheses in which reproducing the same SL image in the target language and deletion, respectively, are the most frequent and the least frequent strategies used by Iranian subtitlers.

Syftet med den här produktorienterade studien är att undersöka vilka översättningsnormer som är aktuella för indirekt översättning av hebreisk skönlitteratur till svenska. I studien genomförs en kontrastiv undersökning av kulturspecifika element (ECR) med utgångspunkt i Tourys (1995/2012) coupled pairs kompletterad med Pedersens (2011) typologi. Materialet består av 3 x 136 coupled pairs excerperade från en novellsamling skriven av den israeliska högprestigeförfattaren Amos Oz och översatt till svenska genom engelska. Båda översättningarna utfördes av högprestigeöversättare. Resultatet antyder att indirekt översättning av skönlitteratur ansluter sig till adekvansnormen i enlighet med hypotesen om högprestigeöversättare (Lindqvist 2002). Hypotesen om acceptansinriktning beträffande indirekt översättning falsifierades i studien. / The following product–oriented study deals with translational norms operating in indirect translation of Hebrew literature into Swedish. The research was conducted as a contrastive study of Extra–linguistic Cultural References (ECR) based on Toury’s (1995/2012) coupled pairs and supplemented with Pedersen’s typology (2011). The material consisted of 3 x 136 coupled pairs excerpted from a collection of short stories written by an Israeli high–prestige writer Amos Oz and translated into Swedish through English. Both translations were carried out by high–prestige translators. The results suggest that indirect literary translation follows the adequacy norm in accordance with the hypothesis on high–prestige translation (Lindqvist 2002). The hypothesis on acceptancy norms operating in indirect translation is rejected.

El lenguaje erótico es un fenómeno que trata el campo del erotismo y la sexualidad mediante elementos lingüísticos que forman parte del estilo de la autora. Las dificultades para traducir el lenguaje erótico radican en la comprensión y reexpresión de estos elementos con su sentido simbólico, así como en los constructos sexuales y eróticos de una determinada cultura e ideología. Por ello, la presente investigación se enfoca en analizar la traducción al inglés del lenguaje erótico en Afrodita: Cuentos, recetas y otros afrodisíacos, escrita por Isabel Allende y traducida por Margaret Sayers. El análisis discursivo del lenguaje erótico permite comprender las características del estilo, la voz y el modo narrativo. Nuestros objetivos se focalizan en descubrir cómo se presenta el lenguaje erótico en el texto fuente y en identificar cuáles son las estrategias y técnicas que optó la traductora Sayers para la versión traducida. Se propone aplicar la técnica del análisis de contenido, para que se construya un libro de códigos que permita analizar los elementos lingüísticos del lenguaje erótico en el texto fuente. En esta técnica, también se elaborarán fichas para analizar la voz y el modo a nivel macrotextual. Además, se aplicará la técnica del análisis textual contrastivo, para que se elaboren fichas que ayuden a comparar, en ambas versiones, los fragmentos y elementos seleccionados. Así, se explicarán las estrategias y técnicas que utilizó Sayers para la traducción del lenguaje erótico en Afrodita. / Erotic language is a phenomenon that addresses both the field of eroticism and sexuality through linguistic elements which are part of the author's style. There are difficulties in translating erotic language that lie in the comprehension and reexpression of these elements and its symbolic meanings, as well as in the sexual and erotic constructs of a given culture and ideology. Therefore, this research aims to analyze the English translation of Aphrodite: A Memoir of the Senses, a novel written in Spanish by Isabel Allende and translated by Margaret Sayers. The discursive analysis of the erotic language allows for understanding the characteristics of the style, voice and mode. Our aims consist of discovering how erotic language is presented in the source text and of identifying which are the strategies and techniques that Sayers chose for the translated version. We propose to apply the content analysis technique, so that linguistic elements of erotic language may be analyzed in the source text through a codification book. We also propose to elaborate index tabs to analyze the voice and mode at a macro-textual level. Furthermore, the contrastive textual analysis technique will be applied, so that selected fragments and elements may be compared and analyzed in both versions through index tabs. By this way, the strategies and techniques used by Sayers for the translation of erotic language in Aphrodite will be explained. / Trabajo de investigación

La traducción del castellano al quechua es una actividad que después de aproximadamente dos siglos ha ganado una vez más importancia en el Perú. En gran parte se debe a la promulgación de la Ley de Lenguas Indígenas del Perú, que establece que todo documento oficial debe estar traducido a la lengua del territorio donde se emita. Ante esto, el Estado decidió impartir programas de capacitación para traductores e intérpretes de lenguas originarias, entre ellas el quechua. Los traductores de quechua cumplen un rol importante en la sociedad y su labor es compleja por razones lingüísticas y culturales inherentes a esta lengua originaria. Sin embargo, existen muy pocos estudios que han investigado su proceso de traducción. En este contexto, el presente estudio cualitativo se ha enfocado en analizar las estrategias traslativas comunes y distintas de traductores castellano-quechua mediante estrategias establecidas por la traductología que sirven como instrumento de análisis para clasificarlas. Para ello, se realizaron entrevistas a siete traductores que residen en Lima. Los resultados reflejan que las estrategias más frecuentes son préstamos, filtros culturales, paráfrasis, neologismos con nuevo sentido, cambios en la estructura de la frase y naturalizaciones. Asimismo, se hallaron factores que los participantes consideraron para escoger sus estrategias: el receptor, la finalidad de la traducción, los requerimientos del cliente, la cultura y el contexto. Adicionalmente, se encontraron perspectivas comunes de los traductores al emplear dichas estrategias. / Translating from Spanish into Quechua is an activity that, after approximately two centuries, has gained importance in Peru again. This is largely due to the enactment of the Peruvian Indigenous Languages Act, which establishes that all official documents must be translated into the language of the territory where they are issued. Given this situation, the Peruvian government started to provide training programs for translators and interpreters of indigenous languages, including Quechua. Quechua translators play an important role in society and their work is complex because of linguistic and cultural aspects inherent in this indigenous language. However, there are very few studies that have researched their translation process. In this context, the present qualitative research has focused on analyzing different and common translation strategies of Spanish-Quechua translators employing strategies established by Translation Studies, which serve as a tool for analysis that helps to classify them. To this end, we conducted interviews with seven translators residing in Lima. The results reflect that the most frequent strategies are loan, cultural filtering, paraphrase, neologism with new senses, phrase structure change and naturalization. Likewise, we found that there are factors that participants considered to choose their strategies: receiver, purpose of translation, client's requirements, culture, and context. Furthermore, we discovered that translators shared common viewpoints related to those strategies. / Tesis

Plusieurs études explorent la question des œuvres théâtrales traduites et censurées dans un contexte dictatorial, au Brésil et ailleurs dans le monde. Pourtant, peu d’entre elles examinent les stratégies de traduction mises en œuvre pour éviter ou contourner la censure. S’appuyant sur l’Histoire de la traduction, la présente thèse propose précisément de se pencher sur la question des stratégies de traduction des pièces de théâtre pendant deux périodes de dictature au Brésil : Estado Novo (1937-1945) et Ditadura Militar (1964-1985). Pour chacune de ces périodes, des mécanismes de censure différents et les stratégies de traduction variées qui en découlent sont examinés et illustrés. La méthodologie, fondée sur le modèle TRACE (TRAducciones CEnsuradas en España), consiste en l’analyse d’un corpus de pièces de théâtre traduites et censurées pendant les périodes précitées, et obtenues au Centre d’archives Miroel Silveira, à São Paulo. Chaque dossier de censure (y compris les traductions, les commentaires et avis des censeurs, et les documents relatifs aux négociations entre les censeurs et les directeurs d’œuvres théâtrales) est analysé afin de comprendre les actes de censure ; de même, un échantillon de pièces de théâtre et leur traduction font l’objet d’une analyse comparative pour cerner de quelle manière les traducteurs réagissent à la censure. Les données sont analysées dans leur contexte historique, ce qui nous a permis de conclure que les procédures et les stratégies de traduction ont évolué d’une période de dictature à l’autre. Quant au cadre théorique, il se réclame en grande partie des travaux sur les normes et le système de mécénat de la traductologie descriptive, notamment ceux de Toury (1995) et de Lefevere (1992). Ces travaux décrivent le fonctionnement de la censure au sein et en dehors du système littéraire, de même que ses répercussions sur les traducteurs. Le concept de censure y est souvent qualifié de concept multidimensionnel et arbitraire mais une étude détaillée des lieux d’interaction entre la censure et la traduction s’avérait nécessaire. Telle est l’une des principales contributions de la présente thèse au domaine. Afin d’atteindre les objectifs énoncés ci-dessus, cette étude a été divisée en cinq chapitres: 1) Traduction, théâtre et censure, dans lequel nous introduisons les principaux concepts utilisés et faisons un état de la question; 2) Aspects théoriques et méthodologiques, dans lequel nous présentons les bases théoriques, la méthodologie (TRACE), et, enfin, notre méthodologie propre; 3) Estado Novo et les caractéristiques principales de cette période (contexte historique, lois et décrets de censure), les données générales collectées dans les archives Miroel Silveira et, enfin, l'analyse de cinq pièces de théâtre traduites et censurées au cours de cette période; 4) La Ditadura Militar, avec le même contenu que le point précédent mais pour la période; 5) Comparaison des deux périodes citées, dans lequel nous analysons les mécanismes de censure et les différentes stratégies de traduction qui en découlent. / Numerous studies exist on theatrical works translated and censored during periods of dictatorship in Brazil and other countries around the world. However, few among such studies are devoted to strategies used by the translator to avoid or circumvent censorship. Situated in the area of Translation History, this work investigates strategies used in the translation of theater plays during Brazil’s two dictatorships: the Estado Novo (1937-1945) and the Military Dictatorship (1964-1985). We, in each of these periods, different censorship mechanisms and the varied strategies translators adopted in response. We thus sought to identify these strategies in correlation with each mechanism of censorship that provoked them. To our knowledge, there is no study comparing these aspects between the two dictatorships. Our methodology entailed analysis of a corpus of plays translated and censored during the aforementioned periods of dictatorship. The works were retrieved from the Miroel Silveira Archive. An examination of censorship dossiers (among them the translations themselves, comments and opinions of the censors, and negotiations between the censors and directors of the theatrical works) broadened our understanding of censors’ actions while analysis of the theatrical works provided insight into translators’ reaction to censorship. Articulated with historical contexts, these aspects allowed us to conclude that there was a variation between the procedures and the translation strategies used in each dictatorship. The success of the study owes much to the work of descriptivist theorists on norms and the patronage system - in particular, Toury (1995) and Lefevere (1992), who shone light on the functioning of censorship within and without the literary system, and its impact on translators. The concept of censorship, frequently described as multifaceted and arbitrary, requires further research studies exploring on its interrelationships with translation. This is one of the chief contributions of this work. In order to achieve the objectives stated above, this study has been divided into five chapters: 1) Translation, Theater and Censorship, in which we introduce the main concepts used by authors who are interested in these subjects; 2) Theoretical and methodological aspects, in which we present the theoretical bases, the methodology (TRACE), and finally our own methodology; 3) Estado Novo and the main characteristics of this period (historical context, laws and decrees of censorship), the general data collected in the Miroel Silveira archives and, finally, the analysis of five plays translated and censored during this period; 4) Ditadura Militar, with the same content as the previous point but focused on the period; 5) Comparison of the two periods indicated above, in which we analyze the mechanisms of censorship and the different translation strategies that result from them. / Os estudos sobre o teatro traduzido e censurado em períodos de ditaduras são numerosos, tanto no Brasil, como em outras ditaduras do mundo. No entanto, entre esses estudos, não são muitos os que se centram nas estratégias utilizadas pelo tradutor para evitar ou driblar a censura. Situado na área da História da Tradução, o presente trabalho se interessa por essas estratégias utilizadas na tradução de peças de teatro, durante as duas ditaduras brasileiras: o Estado Novo (1937-1945) e a Ditadura Militar (1964-1985). Em cada um desses períodos, observamos mecanismos de censura diferentes que provocaram reações variadas e, consequentemente, estratégias de tradução variadas. Buscamos, assim, identificar essas estratégias em correlação com cada mecanismo de censura que as provocou. Em nosso conhecimento, não há nenhum estudo que faça a comparação desses aspectos entre as duas ditaduras estudas. Para realizar essa análise, utilizamos um corpus de peças de teatro traduzidas e censuradas durante os períodos, que recuperamos no Arquivo Miroel Silveira. Os dossiês de censura, em que constam as traduções, comentários e pareceres do censores, negociações entre os censores e os diretores, entre outros, contribuem para compreender a ação dos censores e, a partir da análise das peças, a reação dos tradutores em face da censura. Articulados com os contextos históricos, esses aspectos nos permitiram chegar à conclusão de que houve uma variação entre os procedimentos e as estratégias de tradução utilizadas em cada ditadura. Este estudo foi possível graças às contribuições dos teóricos descritivistas, particularmente Toury (1995) e Lefevere (1992), quanto às normas e ao sistema de patronagem, que ajudaram a elucidar o funcionamento da censura, fora e dentro do sistema literário, e o impacto que ela causou nos tradutores. A censura, frequentemente qualificada como multifacetada e arbitrária, ainda clama por estudos que explorem seus diversos aspectos em relação com a tradução. Nossa pesquisa, dessa forma, contribui para essa compreensão. Para atingir os objetivos propostos acima, este estudo foi dividido em cinco capítulos: 1) Tradução, Teatro e Censura, em que introduzimos os principais conceitos utilizados, fazendo uma revisão da literatura; 2) Aspectos Teóricos e Metodológicos, em que apresentamos as bases teóricas da pesquisa, a metodologia TRACE, e, por fim, nossa própria metodologia; 3) O Estado Novo e as características principais desse período (contexto histórico, leis e decretos de censura), os dados gerais coletados no Arquivo Miroel Silveira e, finalmente, a análise de cinco peças de teatro traduzidas e censuradas durante esse período; 4) A Ditadura Militar, que segue os mesmos passos do item anterior, mas focado na segunda ditadura; 5) Comparação dos dois períodos citados, em que analisamos os mecanismos de censura e as diferentes estratégias de tradução que decorrem de cada mecanismo.

В диссертации проводится анализ основных приемов актуализации прагматического потенциала при переводе названий фильмов на примере англоязычных художественных кинолент, вышедших в российский прокат. Описываются основные стратегии перевода, анализируется их целесообразность и прагматическая направленность. Анализ позволяет выявить факты непосредственного воздействия названия киноленты на восприятие зрителя, его эмоции и чувства. Отмечается появление различных прагматических эффектов, в частности эффектов оправданного или обманутого ожидания, в результате взаимодействия фильмонима и текста. / In the dissertation the author analyses the main methods for actualization of the pragmatic potential of film titles by the example of English language feature films, released in Russia. It considers the main translation strategies, and analyzes their advisability and pragmatic orientation. The analysis reveals the fact of the direct impact of the film title on the perception of a viewer, his emotions and feelings. The appearance of various pragmatic effects, in particular the effects of legitimate or defeated expectancies, as a result of the interaction of the film name and the text, is also noted.

This study analyses the various culture-specific items known as realia words from the Italian novel Accabadora, written by Michela Murgia (2009) and translated into Swedish by Barbro Andersson (2012). Moreover, this paper also examines the various translation strategies used in rendering the specific culture items and their grade of frequency based on Jan Pedersen’s model. Finally, this study aims at testing the validity of Pedersen’s translation strategy model mainly aimed for subtitling and audio-visual translations on a literary text. A total of 160 culture specific items were identified and further subcategorized based on Bruno Osimo’s (2011) classification of realia. The ethnographic, geographic, social-political categories as well as the Sardinian realia were mostly translated by means of source text-oriented strategies while the category of idiomatic expressions displayed a slightly different outcome in which the target-text strategies were the most predominant but still featured by source target-text oriented strategies. The most frequent translation strategy in the first category was retention and direct translation whereas in the category of idiomatic expressions, cultural substitution and paraphrase followed by retention were the most frequently used strategies. Finally, the possible reasons for the choice of source-text versus target-text oriented strategies were further discussed. / Questo studio analizza i vari termini culturospecifici conosciuti come "realia" rinvenuti nel romanzo di Michela Murgia (2009) tradotto in svedese da Barbro Andersson (2012). Inoltre, questa tesi intende esaminare le varie strategie traduttologiche adoperate in modo da rendere i realia nella traduzione in svedese e la loro frequenza basato sul modello di Jan Pedersen. L’ulteriore obiettivo di questo studio è di testare la validità del modello delle strategie traduttologiche di Pedersen, le quali sono principalmente disegnate per le traduzioni dei sottotitoli audio visivi su un romanzo letterario. Un totale di 160 termini culturospecifici sono stati individuati e categorizzati secondo la classificazione dei realia di Osimo Bruno (2011). I realia etnografici, geografici, socioeconomici insieme ai realia sardi sono stati tradotti principalmente applicando strategie rivolte verso l’adeguatezza mentre le espressioni idiomatiche hanno mostrato un risultato leggermente diverso in quanto è emersa una forte tendenza di strategie volte verso l’adeguatezza, ma allo stesso tempo caratterizzata da una forte presenza di strategie volte verso l’accettabilità. Le strategie più adoperate nella prima categoria sono risultate retention e direct translation mentre nella categoria delle espressioni idiomatiche hanno avuto la predominanza le strategie traduttologiche come cultural substitution e paraphrase seguita da retention. Infine, lo studio analizza i vari motivi di tali scelte traduttologiche rivolte verso l’adeguatezza anziché l’accettabilità.

Text in English / This study examines and discovers the translation strategies as employed in the Sesotho sa Leboa translation of Mandela's Long Walk to Freedom. Mandela's Long Walk to Freedom was published in 1995 and was translated into Sesotho sa Leboa by S M Serudu in 2001. The Sesotho sa Leboa translation of the life history of Mandela, Leetotelele go ya Tokologong (Long Walk to Freedom) is one of the four completed translations to date that form part of the assignment to translate the original text into the official languages of South Africa. The aim of this study is to investigate the translation strategies used to transfer linguistic and cultural items in the translation of Mandela's autobiography. The study is mainly qualitative and examines the strategies employed by Serudu. For data collection, the source and target texts of Mandela's Long Walk to Freedom as well as the semi-structured face-to-face interviews with four translators into Sesotho sa Leboa, isiZulu, isiXhosa and Afrikaans were used. The study is based on the Descriptive Translation Studies Theory, Bassnett and Lefevere's "cultural turn" as well as the domestication and foreignization strategies. In this case, it investigates if Serudu has domesticated and/or foreignized his translation. The findings revealed that Serudu domesticated his translation by using metaphors, similes, personification, euphemism, hyperbole, proverbs, idioms and the use of descriptive words. Foreignization was also found when the translator dealt with the borrowing and loaning of words where most of the concepts were transferred, Sotholised, retained and transferred, as they were, especially culture specific items. / African Languages / D. Litt. et Phil. (African Languages)