La tradition musulmane rapporte que l’une des caractéristiques les plus fondamentales du Coran est qu’il est un texte polysémique par excellence (ḥammāl dhū wujūh, porteur de plusieurs visages). Si le Coran est polysémique et que ses exégèses ne sont que des lectures possibles, il s’ensuit que ses traductions en sont également autant de lectures possibles et complémentaires. L’accumulation des traductions contribue ainsi à exprimer la polysémie du texte d’origine, même si ces traductions, dans leur diversité, restent en deçà de la diversité des exégèses.La thèse prend la sourate Al-Ḥajj comme exemple de cette problématique. Elle est articulée autour de deux axes de recherche :I. une étude de la polysémie du texte de départ.II. une étude de la polysémie du texte d’arrivée qui montre comment la traduction réduit et/ou modifie la polysémie.Le corpus est constitué de 18 traductions représentatives de toutes les tendances et de toutes les périodes de l’histoire de la traduction française du Coran depuis 1647 jusqu’à 2010.Constituant un espace clos qui évolue indépendamment de l’exégèse vers plus de littéralité, les traductions se rejoignent, se complètent, reflètent dans leur diversité avec légère modification une grande partie de la polysémie réunie et concentrée dans le texte de départ mais sporadique, éparse et dispersée dans les traductions. / According to Islamic tradition, one of the core characteristics of the Quran is that it is a polysemic text par excellence (ḥammāl dhū wujūh, bearer of several faces). To say that the Quranic text is polysemic implies that its various exegeses are as many possible readings of it, which implies in turn that its translations are also as many readings that complete each other. The accumulation of translations is thus another expression of the polysemy of the original text, even if the diversity of these translations does not match that of the exegeses.The thesis deals with the analysis of the Surah of Al-Ḥajj and it is based on two research axes:I. a study of the polysemy of the original text (Surah of Al-Ḥajj).II. A study of the polysemy of the final text (18 French translations) to show how translation reduces and/or modifies polysemy. The corpus of translations (18 translations) covers all the periods of the history of the translation of the Koran from 1647 until 2010 in order to see the evolution of the translation of the Koranic text.As a closed space that evolves independently from exegesis to more literality, the translations meet and complement each other, reflecting in their diversity with slight modification a large part of the polysemy united and concentrated in the original text but sporadic, sparse and Dispersed in the translations.

The anonymous French seventeenth-century play le Docteur Amoureux (1691) was written for theThéâtre Italien, the Italian troupe acting in Paris. It incorporated the techniques of both Old French farce and the commedia dell'arte into mainstream comic modes, in the manner of Moliáere but with some amusing twists. Le Docteur Amoureux remains a significant part of the French comic canon and the historical corpus of drama, yet it has never been translated into English. With prefatory commentary on the text and the period, the genres of stage performance, and the challenges involved in translating historical texts, this first translation of le Docteur Amoureux is intended to serve contemporary theater research into this rich and prolific period in the history of the French theater under Louis XIV. / by Elsa Cantor. / Thesis (M.A.)--Florida Atlantic University, 2009. / Includes bibliography. / Electronic reproduction. Boca Raton, Fla., 2009. Mode of access: World Wide Web.

Child-oriented Chinese indigenous children's literature was created with the translation of western children's works and theories on children's literature. The study on translated children's literature in China is significant not only to the research on Chinese children's literature, but also to Chinese translation history. At present the study on translated children's literature both at home and abroad occupies a marginalized position. Particularly in China, the limited research that has been done on the subject is of poor quality. / Key words. Translation Studies; translated children's literature; poetics; patronage; linguistic elements; personality; influence study; reception. / This dissertation combines the methods taken from Descriptive Translation Studies, children's literature research and Comparative Literature to describe and analyze the production, reception and influence of translated children's literature in China during the period of 1898-1949. Based on two catalogues compiled by the author of this dissertation, namely, A Catalogue of Translated Children's Literature During 1898-1919 and A Catalogue of Translated Children's Books During 1911-1949, the dissertation describes a picture of translated children's literature in China during the period of 1898-1949. The production of translated children's work is analyzed from four perspectives: poetics, patronage, linguistic elements and personality of translators. The reception part, based on the reception models by Yves Chevrel, takes Curoe translated by XIA Mianzun, The Watch translated by LU Xun, and "Translated Russian Children's Literature in China" as three case studies to examine the reception of translated children's literature in the Chinese context. The influence part adopts the methodology of chronology and doxologie to prove and conduct the detailed aspects of the influence of translated children's literature upon indigenous Chinese children's literature from three aspects: techniques, content and image. The dissertation ends with an outlook for future research on translated children's literature in China. / 李麗. / 論文(哲學博士)--香港中文大學, 2006. / 參考文獻(p. 222-238). / Adviser: Chee Fun Fong. / Source: Dissertation Abstracts International, Volume: 68-02, Section: A, page: 0562. / Electronic reproduction. Hong Kong : Chinese University of Hong Kong, [2012] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Electronic reproduction. [Ann Arbor, MI] : ProQuest Information and Learning, [200-] System requirements: Adobe Acrobat Reader. Available via World Wide Web. / Abstracts in Chinese and English. / School code: 1307. / Lun wen (zhe xue bo shi)--Xianggang Zhong wen da xue, 2006. / Can kao wen xian (p. 222-238). / Li Li.

Thesis (MA)-- Stellenbosch University, 2013. / ENGLISH ABSTRACT: This thesis re-evaluates the writing of seminal Afrikaans modernist Etienne Leroux from a South African English perspective. The present author's new translation of Leroux's prizewinning novel Sewe Dae by die Silbersteins (1962) is the focal point of an enquiry into how “rewriting”, in translation theorist André Lefevere's coinage, has shaped the reception of Leroux's work outside the Afrikaans literary system. It is shown from a literary-historiographical viewpoint that translation played a crucial role in Leroux's rise to international prominence and subsequent eclipse. It is demonstrated that Leroux's standing within the English literary system rests predominantly on extant translations of his novels, without taking into account the cyclical quality of his fiction, especially the overarching nine-novel cycle – the basis of Leroux's renown in Afrikaans. The distortions produced by this fact are critiqued. In particular, the received idea of Leroux as an apolitical obscurantist is challenged, the work of J.C. Kannemeyer especially showing that Leroux's politics and art were much more integral and radical than previously (mis)understood. A case is made for Leroux's re-evaluation as a seminal contributor to modern South African fiction comparable to J.M. Coetzee, and for the production of fresh translations of his work to facilitate this re-evaluation. A detailed account of the translation process behind the present author's new translation of Sewe Dae by die Silbersteins follows. A series of close readings compares this new translation to the first translation by Charles Eglington (1964), shows how Eglington's translation obscured certain textual strategies vital to a full comprehension of Leroux's text, examines the difficulties inherent in restoring them, and argues for the new translation's success therein. A mise au point in which insights yielded by this process feed back into an assessment of Leroux's relevance today concludes the thesis. Leroux's technique is shown to have immunised his texts against the desuetude into which time-bound “committed” literature often falls. In particular, Sewe Dae by die Silbersteins, or its new translation, emerges as a satirical anatomisation of subjectivity under late modern capitalism entirely in tune with contemporary cultural representations of apartheid as metaphor for global capitalism. / AFRIKAANSE OPSOMMING: In hierdie tesis word die skryfwerk van die hoog-aangeskrewe Afrikaanse modernis Etienne Leroux vanuit 'n Suid-Afrikaans-Engelse oogpunt in heraanskouing geneem. Die kandidaat se nuwe vertaling van Leroux se beroemde roman, Sewe dae by die Silbersteins (1962 ), word as uitgangpunt gebruik vir vrae oor hoe Leroux se werk “herskryf” is deur kritici en vertalers. In verband hiermee word die vertaal-teoris André Lefevere se werk gebruik om die ontvangs van Leroux se werk buite die Afrikaanse literêre-sisteem in oënskou te neem. Uit n literêr-historiografiese standpunt word bewys dat vertaling 'n sleutel-rol in Leroux se internasionale beroemdheid en sy daaropvolgende verdwyning gespeel het. Leroux se status binne die Engelse literêre-stelsel berus tans hoofsaaklik op bestaande vertalings van sy romans, wat beperk in omvang en gehalte is. Leroux se “Engelse” reputasie neem as gevolg hiervan glad nie die sikliese eienskappe van sy fiksie in ag nie, bowenal sy oorkoepelende siklus van nege romans, wat die grondslag van Leroux se roem in Afrikaans vorm. Verskeie misvattings wat uit hierdie toestand voortspruit – veral die gedagte dat Leroux se skryfwerk apolities en “duister” is – word bevraagteken. Vernaamlik die werk van J. C. Kannemeyer wys daarop dat Leroux se kuns baie meer integraal en radikaal is as wat dit blyk binne die wanvoorstelling daarvan in Suid-Afrikaanse kritiek in Engels. ‘n Pleidooi word gemaak vir ‘n herwaardering van Leroux as 'n sentrale figuur in moderne Suid-Afrikaanse fiksie, vergelykbaar selfs met J.M. Coetzee. Verder word gepleit vir die behoefte aan nuwe vertalings van Leroux se werk, om sodoende 'n deeglike herwaardering moontlik te maak. Daarna volg 'n bespreking van die vertalingsproses van die kandidaat se nuwe vertaling van Sewe dae by die Silbersteins. 'n Reeks noukeurige beskouings wat die nuwe vertaling met die bestaande vertaling (Charles Eglington, 1964) vergelyk, wys daarop dat Eglington se vertaling kerneienskappe van Leroux se teks effektief verdoesel. Hierdie eienskappe, word aangevoer, is noodsaaklik vir 'n deeglike begrip van Leroux se teks. Die kandidaat bied ‘n wye analise oor hierdie eienskappe aan en voer ook aan dat sy nuwe vertaling die wese van Leroux se roman in ere herstel. Die tesis sluit af met 'n mise au point waarin die insigte wat bereik is deur die vertalingsproses voorgestel word as stof tot nadenke oor Leroux se belangrikheid in vandag se leefwêreld. Daar word vervolgens ook bewys dat Leroux se werk bestand is teen die onbruik waarin tydgebonde littérature engagée dikwels verval. Veral Sewe dae by die Silbersteins, en die nuwe vertaling wat hier aangebied word, bied 'n satiriese beskouing van subjektiwiteit onder apartheid-kapitalisme wat strook met huidige voorstellings van apartheid as metafoor vir globale kapitalisme.

nÃo hà / CoordenaÃÃo de AperfeÃoamento de Pessoal de NÃvel Superior / Se, por um lado, a Ãrea de Estudos da TraduÃÃo no Brasil, por sua prÃpria natureza interdisciplinar, tem ampliado o diÃlogo com outras Ãreas, por outro lado, ainda hà muito o que ser pesquisado, especialmente, no tocante à natureza cultural da disciplina (SALGUEIRO, 2015) e no seu papel na manutenÃÃo de culturas e tradiÃÃes (RISÃRIO, 1993; 1996), embora seja esse papel uma nova realidade no paradigma da disciplina. Uma aproximaÃÃo com o campo de estudos da Antropologia à fundamental nesse sentido, especialmente, em diÃlogos que investigam a influÃncia e funÃÃo da traduÃÃo na manutenÃÃo de tradiÃÃes culturais, com Ãnfase naquelas relativas à oralidade e à produÃÃo poÃtica oral de um povo, suas oraturas (BROSE, 2015). Este estudo pretende investigar as toadas cantadas atualmente no culto Xangà do Recife comparando-as com as recolhidas e traduzidas por Carvalho (1993) do ponto de vista de sua relaÃÃo com o mito (MALINOWSKI, 1986 e ALLEAU, 1976) e com a performance (FINNEGAN, 1982). Nesse processo analÃtico, irei comparar as traduÃÃes ââficcionaisââ que reinterpretam o conteÃdo semÃntico desses textos no atual ambiente de performance e recepÃÃo e que foram realizadas pelos adeptos do culto, com as traduÃÃes semÃnticas a fim de identificar o quanto sua significaÃÃo mudou ou foi recriada. Irei tambÃm identificar as estratÃgias utilizadas pelos adeptos do culto na criaÃÃo de suas traduÃÃes ââficcionaisââ, apontando pistas para a compreensÃo do modo como o Candomblà và e interpreta o mundo, alÃm de investigar como e em que ambiente as traduÃÃes ââficcionaisââ surgem e, quando divergem das semÃnticas, em que extensÃo o fazem e sob a influÃncia de quais aspectos. As traduÃÃes ââficcionaisââ sÃo vistas sob a Ãtica da transcriaÃÃo poÃtica, conforme proposta por Campos (1962; 1967; 1984; 1985; 1987). Esta pesquisa pretende lanÃar olhares renovados sobre as tradiÃÃes orais afro-brasileiras a partir do ponto de vista de uma teoria da poesia oral (ZUMTHOR, 2010). Acredito que essa nova interface teÃricometodolÃgica ampliarà a compreensÃo de conceitos-chave dos Estudos da TraduÃÃo, como o tradutor e a obra (CHARTIER, 2012), alÃm de trazer uma contribuiÃÃo para um melhor entendimento do conceito de traduÃÃo ââficcionalââ introduzido por Carvalho em seu estudo. / If the area of Translation Studies in Brazil, by its very interdisciplinary nature, has broadened the dialogue with other areas, there is still much to be researched, especially regarding the cultural nature of the discipline (SALGUEIRO, 2015) and its role in the maintenance of cultures and traditions (RISÃRIO, 1993; 1996). An approach from the field of Anthropology is fundamental in this sense, especially in dialogues that investigate the influence and function of translation in the maintenance of cultural traditions, with emphasis on studies related to orality and the production of oral literature, orature (BROSE , 2015). This study intends to investigate the songs currently sung in the Xangà do Recife cult, comparing them to those collected and translated by Carvalho (1993). The point of view will be their relationship with myth (MALINOWSKI, 1986 and ALLEAU, 1976) and performance (FINNEGAN, 1982). In this analytical process, I shall compare the 'fictional' translations with 'literal' translations. 'Fictional' translations are reinterpretations of the semantic content of the original texts in the current performance and reception environment and which were carried out by worshipers. I intend to identify how the meaning has changed or has been recreated. It is my intentionto analyse the strategies used by worshipers in creating their "fictional" translations, pointing out clues to understand how Candomblà sees and interprets the world. I shall investigate how and in what environment the "fictional" translations ' arise, and when they differ from the 'literal' ones, to what extent they do so and under the influence of which aspects. The "fictional" translations are seen from the perspective of âpoetic transcreationâ as proposed by Campos (1962; 1967; 1984; 1985; 1987). This research intends to open new vistas for the Afro- Brazilian oral traditions from the point of view of a theory of oral poetry (ZUMTHOR, 2010). I believe that this new theoretical interface might broaden the understanding of key concepts of Translation Studies, such as the translator and the work (CHARTIER, 2012), in addition to contributing to a better understanding of the concept of "fictional" translation introduced by Carvalho in his study.

This master's thesis comprises an English translation of Jacques Sternberg's "Si loin du monde ..." preceded by an introduction that addresses the translator's general theoretical approach to translation as well as an explanation and justification of specific choices made for this translation in particular. "Si loin du monde ..." is a short work of science fiction by Belgian author Jacques Sternberg that appeared in the collection Entre deux mondes incertains, published in 1957. It takes the form of a first-person narrative told from the perspective of an extra-terrestrial, who has been sent on a mission to study humanity and its environment and furtively make preparation for the arrival of his people on Earth. The section on theory sets out to find whether there exist absolute norms exterior to the subjectivity of the translator that regulate the act of translation. Three potential normative centers are proposed: text, author, and reader. The starting point when appraising text is the sourcier/cibliste dichotomy and the objection préjudicielle presented in Georges Mounin's Les belles infidèles. The objection préjudicielle is the claim that translation is theoretically impossible. The conclusion reached is that the text does not establish absolute norms of correspondence between the target text and the source text because there is no absolute meaning inherent in the text. When examining the author as a potential source of the norms of translation, Roland Barthe"s "La mort de l'auteur" is used to show that, since the meaning of a text is not ultimately determined by the author, neither can he be an absolute regulator of correspondence in translation. Finally, the reader is found to be a relative (not absolute) regulator of the norms of translation. This regulating role and the nature of its demands on the translator is explored through an application of the author/reader dialectic found in Sartre's Qu'est-ce que la littérature? It is concluded that there do not exist any absolute norms of translation exterior to the translator, and that the translator creates an aesthetic unity in the target text through adherence to norms that are ultimately founded in his own subjectivity.

Orientador: Maria Viviane do Amaral Veras / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-27T07:47:27Z (GMT). No. of bitstreams: 1 Meinberg_AdrianaFiuza_M.pdf: 1245656 bytes, checksum: edd7db261afb70073aee2489590bb27a (MD5) Previous issue date: 2015 / Resumo: Este trabalho reflete sobre a canção vertida e cantável (do português para o inglês e do inglês para o português), entendendo que considerá-la somente com base na letra seria tirar dela toda a poesia, uma vez que seu valor poético está cravado de sentimentos que a música vem acordar. Minha proposta é oferecer uma nova escuta para a versão cantável de canções populares, partindo do princípio de que são criadas para serem cantadas, por serem uma combinação de letra e música, passando assim a intercambiarem uma teia sempre renovável de significações. Além disso, mostrar que essa teia de significações é criada e articulada não somente pelo versionista, mas também pelo cantor e pelo arranjador, que atuam como coautores. Para tanto, o corpus da pesquisa faz um recorte que seleciona canções vertidas do português para o inglês no disco Brasil (1987), gravado pelo grupo vocal americano The Manhattan Transfer, com canções brasileiras de Ivan Lins, Djavan, Milton Nascimento e Gilberto Gil. O trabalho também se apoia, para efeito de comparação, em um breve estudo das versões do inglês para o português criadas por Carlos Rennó. Apliquei à escuta e ao cotejo dessas canções a abordagem teórica oferecida principalmente pelo Princípio do Pentatlo de Peter Low e por Klaus Kaindl em sua perspectiva sociossemiótica / Abstract: This study draws some thought on translated and singable popular songs (from Portuguese into English and from English into Portuguese), understanding that considering only the lyrics as analysis basis would probably have all its poetics withdrawn, since there poetic density is engraved with feelings awaken only by the music. My proposal is to offer a new hearing to singable versions of popular songs, having in view that a song is created to be sung, as they are a match of lyrics and music, and therefore both exchange an ever renewable web of meanings. In addition, the present research aims at pointing that not only the translator plays a role in the way such web is created and articulated, but also, and particularly, the singer and the arranger play a coauthor's role. In order to do so, the corpus of this research comprises songs translated from Portuguese into English, found in the album Brasil (1987), recorded by the American vocal quartet The Manhattan Transfer, that sings translated tunes by Ivan Lins, Djavan, Milton Nascimento and Gilberto Gil. The work also refers to the songs translations from English into Portuguese created by Carlos Rennó.. The proposed listening was approached having in view the theoretical ground provided mainly by Peter Low's Principle of Pentathlon and Klaus Kaindl's socio-semiotics approach to popular song translation / Mestrado / Linguagem e Sociedade / Mestra em Linguística Aplicada

PhD (Xitsonga) / Ehansi ka Senthara ya M. E. R. Mathivha ya Tindzimi ta Afrika, Vutshila na Ndhavuko / Ndzavisiso lowu wu wela ehansi ka dyondzo ya swa vuhundzuluxi leyi nga tlhelaka yi vuriwaka leswaku i xiyenge xa swa ririmi ni ndhavuko. Ndzavisiso lowu wu boxa no kanela mitlhontlho leyi ku hlanganiwaka na yona eka vuhundzuluxi lebyi khumbaka Xichangana eZimbabwe. Ndzavisiso lowu wu xopaxopa mitlhontlho leyi eka swiyimo swo hambanahambana swa xilingwistiki leswi katsaka mipfumawulo ya marito, swivumbeko swa marito, vulongoloxamarito na tinhlamuselo ta wona. Ndzavisiso lowu wu tlhela wu xopaxopa mitlhontlho ya vuhundzuluxi leyi khumbaka swa ndhavuko. Eka swa ndhavuko ku langutiwa swivuriso, swivulavulelo, switekatekisani/mitshayilo, swivongo na swithopo. Ndzavisiso lowu wu wela eka xivumbeko xa nhlawulo naswona ku tirhisiwa tindlela to hlengeleta mahungu ta nhlokohliso wa swivutiso ni ntlhatlho wa vundzeni. Tithiyori leti tirhisiweke i ta xilingwistiki ni ya matirhiselo leti khumbaka timhaka ta mindhavuko. Nsusumeto wo endla ndzavisiso wa muxaka lowu wu kongomisa eka Xichangana xa Zimbabwe i ku vona leswaku matsalwa manyingi ya hundzuluxeriwa eka tindzimi leti hluvukeke khale ta Xixona na Xindhevele, kasi tindzimi to fana na Xichangana na tin’wana leti a ti vuriwa ta vavulavuri va nhlayo yintsongo ti karhi ti honisiwa. Ndzavisiso lowu wu kumile leswaku ku na mitlhontlho ya swa ririmi leyi ku hlanganiwaka na yona eka swiyimo swa fonoloji, mofoloji, vulongoloxamarito na semantiki loko ku hundzuluxiwa switsariwa exikarhi ka Xichangana na Xinghezi. Xivangelonkulu xa mhaka leyi i ku hambana ka swivumbeko swa vuvulavuri bya tindzimi, ngopfungopfu eka mofoloji ni vulongoloxamarito. Ndzavisiso lowu wu kumile nakambe leswaku mitlhontlho yin’wana yi tisiwa hi timhaka ta matsalelo laha vahundzuluxi va tirhisaka matsalelo yo hambana ya Xichangana. Hi tlhelo ra swa ndhavuko, ndzavisiso lowu wu kumile leswaku ku na mitlhontlho loko swi fika eka ku hundzuluxela swivuriso, swivulavulelo, switekatekisani/mitshayilo, swivongo n swithopo. Eka xiyenge lexi ku kumekile leswaku ku na marito ya ndhavuko lama nga hundzuluxekiki ku ya eka Xinghezi. Leswi swi vangiwa hi ku hambana ka mindhavuko exikarhi ka Xichangana na Xinghezi.

[ES] El despegue de la traducción audiovisual (TAV) tuvo lugar dentro del mundo académico con la aparición de una edición de la revista Babel dedicada a la traducción del cine en 1960. Desde entonces, esta variedad de traducción se va adquiriendo una innegable pujanza. A partir de los años ochenta, los traductólogos coinciden en dar prioridad al aspecto comunicativo intercultural de la traducción. A principios de los noventa, se puso en marcha una perspectiva culturalista de la traducción denominada cultural turn o giro cultural de traducción. Durante el siglo XXI, la traducción audiovisual (TAV) ha alcanzado su máximo desarrollo experimentando cambios significativos gracias a los grandes avances tecnológicos y la eclosión de nuevas formas de difusión audiovisual. A partir del último tercio de la década de los años noventa, esta área de estudio ha visto un desarrollo vertiginoso en los círculos académicos. Sin embargo, los estudios dedicados a analizar la traducción de textos audiovisuales del árabe al español presentan un campo bastante escaso. Con el presente trabajo de investigación, pretendemos abrir el camino para llenar un vacío en tales estudios. Partimos de un marco metodológico descriptivo basado en el modelo de análisis elaborado por Martí Ferriol (2006) que consta de tres parámetros de análisis: las restricciones, las normas y las técnicas de la traducción audiovisual para facilitar la posterior identificación del método de traducción para la variedad audiovisual. El objetivo principal de esta tesis consiste en verificar si las tipologías de estrategias traductoras existentes, y tradicionalmente basadas en combinaciones de idiomas con el inglés son aplicables para analizar la TAV para el caso concreto de la combinación lingüística árabe - español. Para ello se realizó un análisis exhaustivo del tratamiento de los términos culturales presentes en dos películas egipcias subtituladas en español dirigidas por Youssef Chahine Estación Central (Bāb al-ḥadīd) (1958) y La tierra (Al-ʼrd) (1969). La elección estuvo condicionada por razonas traductológicas y cinematográficas. La profusión de términos culturales presentes, las marcas de oralidad que el traductor ha de solventar en el proceso traductor y la distancia cultural entre las culturas origen y meta suponían un gran desafío para el traductor. Desde el punto de vista cinematográfico, el director Youssef Chahine se desmarcaba del resto con una identidad cinematográfica propia y las películas, objeto de estudio, recibieron el reconocimiento de la crítica nacional e internacional, siendo seleccionadas en la lista de las mejores películas realizadas en la historia cinematográfica árabe. / [CA] L'enlairament de la traducció audiovisual (TAV) va tenir lloc dins del món acadèmic amb l'aparició d'una edició de la revista Babel dedicada a la traducció del cinema en 1960. Des de llavors, aquesta varietat de traducció es va adquirint una innegable puixança. A partir dels anys vuitanta, els traductòlegs coincideixen a donar prioritat a l'aspecte comunicatiu intercultural de la traducció. A principis dels noranta, es va posar en marxa una perspectiva culturalista de la traducció denominada cultural turn o gir cultural de traducció. Durant el segle XXI, la traducció audiovisual (TAV) ha aconseguit el seu màxim desenvolupament experimentant canvis significatius gràcies als grans avanços tecnològics i l'eclosió de noves formes de difusió audiovisual. A partir de l'últim terç de la dècada dels anys noranta, aquesta àrea d'estudi ha vist un desenvolupament vertiginós en els cercles acadèmics. No obstant això, els estudis dedicats a analitzar la traducció de textos audiovisuals de l'àrab a l'espanyol presenten un camp bastant escàs. Amb el present treball de recerca, pretenem obrir el camí per a omplir un buit en tals estudis. Partim d'un marc metodològic descriptiu basat en el model d'anàlisi elaborada per Martí Ferriol (2006) que consta de tres paràmetres d'anàlisis: les restriccions, les normes i les tècniques de la traducció audiovisual per a facilitar la posterior identificació del mètode de traducció per a la varietat audiovisual. L'objectiu principal d'aquesta tesi consisteix a verificar si les tipologies d'estratègies traductores existents, i tradicionalment basades en combinacions d'idiomes amb l'anglès són aplicables per a analitzar la TAV per al cas concret de la combinació lingüística àrab - espanyol. Per a això es va realitzar una anàlisi exhaustiva del tractament dels termes culturals presents en dues pel¿lícules egípcies subtitulades en espanyol dirigides per Youssef Chahine Estació Central (Bāb al-ḥadīd)) (1958) i La terra (Al-ʼrd) (1969). L'elecció va estar condicionada per raons traductològiques i cinematogràfiques. La profusió de termes culturals presents, les marques d'oralitat que el traductor ha de solucionar en el procés traductor i la distància cultural entre les cultures origen i meta suposaven un gran desafiament per al traductor. Des del punt de vista cinematogràfic, el director Youssef Chahine es desmarcava de la resta amb una identitat cinematogràfica pròpia i les pel¿lícules, objecte d'estudi, van rebre el reconeixement de la crítica nacional i internacional, sent seleccionades en la llista de les millors pel¿lícules realitzades en la història cinematogràfica àrab. / [EN] The advent of audiovisual translation (AVT) took place within the academic world with the publication of a special edition of the scholarly journal Babel in 1960 which was devoted to cinematographic translation. Since then, this field of translation has been growing rapidly. Since the 1980s, Translation Studies agreed to give priority to the intercultural communication aspect of translation by going beyond the translation's purview of transferring texts or languages to transferring cultures. A cultural approach to the study of translation or "cultural turn" was launched in the early 1990s. During the 21st century, the AVT has reached its maximum development undergoing significant changes thanks to the great technological advances and the emergence of new forms of audiovisual dissemination. Since the late 1990s, this area of study has experienced a remarkable development in academic circles. However, the studies dedicated to analyze the translation of audiovisual texts from Arabic to Spanish remain a limited field research. The present dissertation is an attempt to open the way to fill a gap in such studies. The methodological descriptive framework adopted in the present dissertation is based on the analysis model developed by Martí Ferriol (2006) which consists of three parameters: restrictions, norms and techniques of AVT to facilitate the subsequent identification of the translation method adopted by the subtitling versions. The main aim of this thesis is to verify whether the existing typologies of translation strategies, and traditionally based on language combinations with English, are applicable to analyze AVT for the specific case of the Arabic - Spanish language combination. In order to accomplish our aim of study, we carried out an exhaustive analysis of the treatment of the cultural terms in two Egyptian films subtitled in Spanish directed by Youssef Chahine Central Station (Bāb al-ḥadīd) (1958) and The land (Al-ʼrd) (1969). We chose our corpus on translation and cinematographic basis. The abundance of cultural terms in the selected corpus, the characteristics of verbal communication and the cultural distance between the origin and target cultures posed a great challenge for the translator. From the cinematographic point of view, the director Youssef Chahine stood out from the rest with his own cinematographic identity and the films, object of study, received the recognition of national and international critics, being selected in the list of the best films made in the Arab cinematographic history. / Abdallah Mohamed Abdelrahman Moussa, N. (2020). Análisis traductológico de los términos culturales en la subtitulación árabe-español [Tesis doctoral]. Universitat Politècnica de València. https://doi.org/10.4995/Thesis/10251/159276 / TESIS

Throughout the earlier part of the nineteenth century Vergil, Homer and Horace dominated the teaching in public schools. At Eton a boy would go through the odes two or three times at least, and would be expected to memorise them all. The handing down of interleaved texts and an unimaginative adherence to traditional systems of 'calling up' boys exempted the idle from industry or cerebration; at the same time, the knowledge of Horace acquired by a tolerably conscientious boy would probably need little enlargement to satisfy Oxford examiners, at least till the late 'fifties, though in Cambridge some familiarity with Bentley's edition would probably be required. Horace's metres were analysed by James Tate with some skill, but his paper received little attention, and most copies of Latin lyrics shew only a rudimentary knowledge of the demands of metre and vocabulary. The level at which the discussion of Horace was carried on throughout the century is demonstrated by articles in the Quarterly Review by James Hannay, novelist and essayist v in October 1333, and by Arthur Palmer, editor of the Satires, in October 1894. Horace's character is conflated from references in his works accepted with exaggerated credulity; even when the ladies of the odes are declared not to have had a real existence, Horace's attitude towards them is still discussed. Palmer and his contemporaries read and discussed the Horatian scholarship produced on the continent; Verrall and Sellar contributed to it; but new interpretations had little effect on the 'cult'. In the 'seventies William Cyples wrote two articles on Horace, in the first and most important of which he argues that the odes are virtuoso literary performances and have no basis in foot or factual morality. The articles are worth recalling for their energy, freshness and originality. By providing a contrast they reveal the general narrowness of contemporary Horatian discussion and the possibility of worshipping Horace without conforming to the cult. The characteristics of Horace and his poetry most popularly pondered are illustrated in many essays, reviews and prefaces to translations. The themes vary less than the distribution of emphasis among them. Horace's politics, philosophy and religion were discussed at much the same length as his preference for town or country. Most of his admirers supposed him to prefer the country. Disagreement was rather as to the relative importance of Horace's references to himself than as to their objective truth. Comparisons with Burns and Béranger, and with Thackeray, characterise the Horace of the nineteenth century as he usually appeared. The question of how best to translate Horace was widely debated. The flaccid 'Augustan' octosyllables of Francis were imitated by lesser translators early in the century, but they also gave rise to more self-consciously 'classical' attempts which endeavoured to demonstrate the foreign qualities of Horace's poetry. Others at the same time strove after 'popular' effects and English poetry. Every position between the two extremes is represented. Conspicuous among the 'alienists' were those who tried to write Englian verse in classical metres; some anxious to produce a more Horatian Horace, others simply using him as a conveniently fertile source of metrical variety. The difficulty of writing classical verses in English is obviously due to the different natures of Latin and English prosody. Unfortunately no analysis of the structure and dynamics of English verse has ever achieved universal acceptance. The nineteenth century experimenters encountered an additional difficulty in that they rarely agreed with one another as to how Latin verses ought to be read. The dispute was carried on with great liveliness and some ingenious solutions were suggested. Others contented themselves with forming or adapting verses on English 'rules' to serve the special needs of Horace. The first to attract much attention was Francis Newman, who set out to translate Horace in 1853 on principles similar to those which he later brought to his Iliad. In his translation of Horace the qualities which he hoped to convey were terseness and a strict adherence to the stanzaic economy of the originals. He employed rhymeless stanzas made up of iambic or trochaic lines, but fell short of elegance. Occasional successes are surrounded by passages clumsy, obscure and bizarre. His anxiety to instruct is emphasized by his decision to present the odes in a possible chronological order. The educational advantage of this scheme with reference to the 'historical' odes is self-evident, but since Newman refused to regard the 'literary houris' as fictitious, he fell into some confusion in his attempts to ascertain the order of Horace's amours. His notes on the odes sometimes reflect very strikingly his preoccupation with the political and social morality of his own times. Seven years later Theodore Martin published a complete translation of the odes. He was a prolific translator, and his Horatian activities extend from the appearance of a few versions in 1845 to a translation of Horace's complete works, accompanied by a lengthy critical biography in 1881. His aims were almost precisely opposite to those of Newman, whose translation, though it probably did not provoke Martin's, was there subject to some gentle mockery. Martin's versions are fluent and facile, recalling both to his hostile and his favourable critics the ballads of Tom Moore. They are unusual in so far as they present the odes as coherent wholes, rather than as sets of stanzas uncertainly related. The results may be a more than usually comprehensible English poem, but the intention of Horace is necessarily often distorted. The evolution of Martin's Horace over the next twenty years is influenced by the suggestions of critics, the rivalry of Conington's translation, and the translator's increasing social and literary eminence; it became something of a popular classic, a position challenged only by Conington. Conington's version which appeared in 1863, was more austere and more calculated to appeal to scholarly critics. Like Martin's it was executed in accepted English rhyming metres; like Newman's it presents, for the most part, only one English equivalent for each Latin metre. It appears that Conington took to translation as a deliberate attempt to resolve the tension between the lure of philological abstraction and a desire for a wider field of human contact. On a simple level the translation reflects this. Bven if not eminently representative of Horace, Conington's versions are more classical than Martin's: if they are rarely brilliant, they are as rarely offensive. All succeeding nineteenth century translations were liable to comparison with Conington's and it was highly praised by Quiller Couch and by Housman. Lord Lytton's translation, published in 1869, probably owed the critical attention it received largely to the fame of the author. It was undertaken originally for therapeutic purposes when Lytton's matrimonial infelicity erupted spectacularly into publicity. It has been justly described as the moat ambitious of failures in this field. Attempting to produce a version more classical than Conington's, Lytton chose, like Newman, to employ rhymeless metres; on the other hand, he allowed himself a greater degree of freedom in using more than one representative for the sapphic and the alcaic. His metres are sometimes difficult to read and probably seemed stranger to his contemporaries than they do now. By compromising Lytton failed to satisfy both those who looked for pleasant English verses and those who hoped for more servile classical approximations. As a piece of literature Gladstone's translation of Horace, executed in his eighty-fourth year, has little to recommend it either on the grounds of success or of novelty.