Divided into five chapters, the thesis analyzes the translation into French of Black English as represented in Mark Twain's novel Adventures of Huckleberry Finn. The method, mainly text-oriented, that is to say turning away from the sociological approach, offers a semiotic reading of the text, both original and translated (Chapter 1). This semiotic approach considers the text as a significant mosaic. Thus, it brings out not only the motivation of the different textual elements, but also the coherence cementing them. The analysis of the original text (Chapter 2) shows that the subversive aesthetic and ideological function of Black English is provided by Jim's characterization and his discursive and narrative programs. William-Little Hughes's translation (1886), as well a Claire Laury's (1979) and Rene and Yolande Surleau's (1950), reverse the subversive project of the source-text through an organized system of textual transformations (additions, omissions, shifts) and produce a stereotyped version of Jim's character, his speech, also simplified and reduced, becoming the expression of this characterization (Chapter 3). Poles apart from these three texts, the French versions written by Suzanne Netillard (1948), Andre Bay (1961), Lucienne Molitor (1963), Jean La Graviere (1979) and Helene Costes (1980) display translation projects which reactivate the original system in which Jim had a multidimensional characterization (Chapter 4). Yet, despite the efficient options chosen by certain translators on the material level, Jim's speech in French does not convey a Black identity in the way Black English does in the original text. A modified and literary version of creolized French is suggested as a possible option for translating this sociolect (Chapter 5).

No description available.

Thesis (MPhil (Afrikaans and Dutch))--Stellenbosch University, 2008. / One of the biggest problems faced by translators has always been the issue of whether a translation should be a free translation or a literal translation. These days, the general tendency is to view a translation as a cultural transfer of information (or intercultural communication) and no longer as merely a linguistic transfer of information. This study took the translation of the applications (columns that deal with life issues) in the Leefstyl-Bybel vir Vroue (LBV), as adapted from the Bible, as subject matter. The reason for this choice of subject matter was that these applications were translated for a target audience (Afrikaans-speaking women) that differs culturally from the source text readers and that the new culture, therefore, constantly had to be taken into account in the translation. It was found that the following theoretical approaches had been successfully applied in the translation of the source text. Firstly, there was the Functionalist approach, where the work of Nord en Vermeer played a significant role. Vermeer’s Skopos Theory focuses, above all, on the aim of a translation and Nord’s instrumental translation on the fact that a translation must communicate successfully with the target text readers in their culture. The LBV is functionalist in the sense that it was translated with a specific aim in mind, namely to empower the Afrikaans-speaking women on a political level and to counter their voicelessness and disempowerment. Secondly, Gutt’s Relevance Theory, and the term “Indirect Translation” in particular, were used. This kind of communication communicates the meaning of the original in such a way that it makes sense to the target language reader in her own context. For example, the metaphors were adapted because the original metaphors would not have been relevant to the Afrikaans-speaking women. New text, that the translator felt was relevant to the target language readers, was also added to the target text. Lastly, Venuti’s Foreignizing and Domestication were used. The LBV was highly domesticated, which meant that the target language values were visible to the target language culture in the translation. This domestication was successful because the translation met the cultural expectations of the target audience. The concept of “Gender and Translation” was also examined. The reason or need for the translation and why the source text had been translated for this target audience specifically, also had to be determined. It was found that women in South Africa had been oppressed for some time. The publisher therefore deemed it necessary to have a Bible for women in Afrikaans. Presenting the Bible to them in a “woman-friendly” way would assist them to believe in their own worth. The source text and the target text were compared and analysed on the macro and micro levels. It was determined whether the above theoretical approaches were successfully applied and whether the target text worked as a communicative instrument in the new target culture. Various reviews were consulted. These reviews and the research in this study indicated that the LBV had been successfully received by the target audience.

Tracing semantic change in various translations of The Bible.

University of Macau / Faculty of Arts and Humanities. / Department of English

When translating musicals from one culture to another, a translator’s role is to convert the text for its stage representation in a different context. However, during the process from this translated text to it finally being performed on stage, changes are inevitable. Issues surrounding the nature of such changes, the reasons for which they are made, and their resulting effects, have hitherto been little researched. The present study seeks to explore such issues through an examination of the ways in which the development of the translated text is shaped by interactions between the various stakeholders including professional translators, fans and production team members, i.e. the director and actors, as well as the audience themselves. Employing some of the major concepts of Actor Network Theory as the principal theoretical framework, together with a case study approach combining textual analysis and empirical studies, this project focuses on Putonghua translations of Western musicals on the Chinese mainland. More specifically, through investigating three of the most recent and professionally translated and performed Western musicals: I love you, you’re perfect, now change (USA), Spin (Finland), and Mamma Mia! (UK), it intends to show how differing stakeholder perspectives on issues of performability and reception are negotiated to produce a commercially successful translation product.

No description available.

Self-translation is essentially a translation activity that involves one undertaking the task of rendering his/her own writings. A fundamental difference between conventional or third-party translators and self-translators is the fact that the latter has better access to their original intentions and the original cultural context of their work than the former. In spite of this seemingly ideal condition, together with the fact that self-translation has been practiced for centuries, the amount of academic interest it has received does not accurately reflect its true value and potential. Consequently, this dynamic practice has been underrated and frowned upon in literary studies until recent years. On the other hand, for many years, Yu Kwang-chung has been noted as a prolific and versatile poet and prose-writer but not so much as a translator and still less as a self-translator. This study, therefore, seeks to identify the efforts and contributions made by Yu Kwang-chung within the translation arena and to raise awareness on the usefulness of self-translations in helping us to understand Yu Kwang-chung’s works as a whole. Through conducting detailed investigations on existing literature, this study reveals the conscientious attitude Yu holds towards his translation career. Based on a complementary reading and analysis of Yu’s views on translation and the self-translation strategies he employs in rendering his bilingual book, The Night watchman, this research project identifies two unique features of Yu’s self-translation: in terms of sound, Yu tends to give musicality priority over mere correctness so as to maximize the musical qualities in his self-translation; with regards to sense, Yu’s manipulation on the meanings of imageries and cultural allusions reflects and reinforces the bicultural consciousness that is unique to Yu Kwang-chung’s works and himself as a literary figure. Two contrastive studies are also conducted to contrast the nature and characteristics of self-translation and third-party translations. These two studies demonstrate that Yu treats his self-translations and his translations of other people’s work very differently. While Yu generally follows the original closely when translating the works of other poets, his self-translations are proved to be much more liberal and flexible in nature. Finally, this study attempts to answer the question of whether Yu’s self-translation is a translation or a new creation. Despite the numerous alterations made, Yu faithfully translates the essence of his own originalities and tries to stay true to himself in the English text. In addition, since no translation can be completely new, this study takes the stance that Yu’s self-translation is not a new creation although the few extreme cases found in The Night Watchman may be treated as rewritings of the original. / published_or_final_version / Chinese / Master / Master of Philosophy

No description available.

published_or_final_version / abstract / toc / Chinese Historical Studies / Master / Master of Arts