Volumes 1 and 2 have continuous paging (xiii, 1-423 ; 424-746) / Bibliography: leaves 738-746 / 3 v. : ill ; 30 cm. + 1 microfilm (positive ; 35 mm) / Title page, contents and abstract only. The complete thesis in print form is available from the University Library. / Thesis (Ph.D.)--University of Adelaide, Dept. of English Language and Literature, 1993

Syftet med denna studie är att försöka utreda vilken roll arkitektoniska icke-människor spelar för skapandet av socialt samspel i en ekoby. För att utreda detta utgår studien från ett antal posthumanistiska teoribildningar, främst actor-network theory och begreppet materielldiskursiv. Dessa teoribildningar anser att även icke-människor, så som hus och brevlådor, ska ses som medskapare till världen men att deras agens bestäms av vilka andra aktörer de kopplar ihop sig med i nätverk. Genom observationer och intervjuer med sju boende i en ekoby har material insamlats om det sociala samspelet i ekobyn. Empirin vittnar om att många olika icke-människor spelar en roll för skapandet av det sociala samspelet som uppstår där. Det handlar bland annat om att gemensamhetshus ger plats för gemensamma aktiviteter, att öppna gräsytor möjliggör lek och att brevlådor uppmanar till rörelse. I sig själv skapar dock inte de arkitektoniska icke-människorna socialt samspel. För att de ska få den betydelsen behöver de användas och tolkas av andra aktörer. Svaret på frågeställningen blir följaktligen att de arkitektoniska icke-människorna spelar en roll för att socialt samspel uppstår i ekobyn men vilken roll de spelar är beroende av vilka andra aktörer som de kopplar ihop sig med. / The purpose of this study is to try to investigate the role that architectural non-humans play for the creation of social interaction in an eco-village. In doing this, the study uses a number of post-humanist theories. Mainly actor-network theory and the material-discursive concept. These state that even non-humans, like houses or mailboxes, are to be seen as co-creators of actions, but that their possible roles are decided by which other actors they attach to in a network. Through observations and interviews with seven residents of an eco-village, the information was gathered. The empirical data shows that many different non-humans are taking an active role in the creating of the social interactions that goes on in the eco-village. To mention a few, the community hall gives room for group activities, open lawns create a possibility for child’s play and mailboxes call for physical movement. In themselves, however, the nonhuman actors do not create social interaction. It is only when used by and interpreted by other actors that they gain their active role. The answer to the question would consequently be that the architectural non-humans in the eco-village do play an active role in the creation of social interaction but that the role is dependent on the other actors that they connect to.

Jitka Nešporová doctoral thesis ABSTRACT The doctoral thesis focuses on the translation persona and work of Ludvík Kundera. A poet himself, he translated verse first and foremost and was able to do so from many languages, although he sometimes resorted to the use of interlinear translations. The research, however, concentrates primarily on the description, analysis and reception of his direct translations in the Czech - German language pair, which was predominant in Kundera's translation work. The thesis contributes to the understanding of the history of Czech literary translation after 1945 by describing Kundera's translation method, making accessible part of his literary estate, notably his correspondence, and providing an update to Kundera's translation bibliography. Kundera is best known as the exclusive, authorized translator of Bertolt Brecht's drama and poetry. His translations of Expressionists Georg Trakl and Gottfried Benn, for which he received the State Award for Literary Translation in 1996, are considered canonical today. The same holds true for his translations of Paul Celan's poetry and Alfred Kubin's novel Die andere Seite (The Other Side). Kundera was also the first to introduce Czech readers to the poetry of Alsatian Dadaist Hans Arp and the poetry of East German lyricist Peter Huchel....

Notre travail rend compte de la double articulation d’analyse d’Antoine Berman dans Pour une critique des traductions: John Donne. La méthode bermanienne intègre tant une histoire, événementielle et individuelle, des traductions qu’une analyse des textes à la lumière de leurs entours (paratextes, projets de traduction, etc.). Dans une première partie, nous tenterons de décrire à l’aide d’un panorama historique l’importation de la poésie de Rilke en traduction française, des premières versions du début du XXe siècle aux dernières traductions des Élégies de Duino. Nous nous attacherons à l’identité des différents (re-)traducteurs et à l’horizon général de leur travail. Dans une seconde partie, nous comparerons plusieurs versions françaises de la première Élégie de Duino, oeuvre poétique de Rilke la plus retraduite en français. A travers différents critères touchant à la forme et au sens, nous saisirons l’apport de ces traductions et le lien qui les unit, afin de constater in fine si les comportements socio-culturels observés dans la première partie se matérialisent aussi dans la pratique des (re-)traducteurs duinésiens / This dissertation rests on the double articulation of Antoine Berman’s analysis of translation in Toward a translation criticism: John Donne. Indeed, Berman’s method integrates as well a macroscopic and individual history of translations as an analysis of texts, considering their peripheral features (paratexts, translation projects, etc.). In the first part, we will depict through a historical panorama the import of Rilke’s poetry in French, from the first versions of the early 20th century to the latest translations of the Duino Elegies. We will thereby give heed to the identity of the different (re-)translators and to the general horizon of their translations. In the second part, we will compare several French versions of the first Duino Elegy, Rilke’s most retranslated poetical opus in French. Through various criteria dealing with form and sense, it will be a question of comprehending what these translations bring and the kind of bond holding them together. We intend eventually to find out whether the sociocultural behaviors we noticed in the first part are also observable in the practices of the Duinesian (re-)translators.

Made available in DSpace on 2014-06-11T19:29:49Z (GMT). No. of bitstreams: 0 Previous issue date: 2008-02-18Bitstream added on 2014-06-13T19:59:50Z : No. of bitstreams: 1 sampaio_a_me_sjrp.pdf: 947406 bytes, checksum: 439f9305de41533c9a4b49fefb3caad1 (MD5) / Esta dissertação analisa a peça Translations (1980), de Brian Friel, a partir de uma leitura póscolonial da situação irlandesa do final da década de 1970. Como primeira produção da Companhia de Teatro Field Day, Translations fez parte do projeto de restabelecer a consciência política das artes em relação às tradições da nação, do sujeito irlandês e sua língua. Nossa proposta é a de que a peça de Friel se constrói como uma atualização histórica, a qual se desdobra em dois planos textuais, um denotativo e um figurativo, em que a relação colonial entre Irlanda e Inglaterra se apresenta como metáfora dos problemas contemporâneos que envolvem a República e o Norte. Assim, na busca por um conceito de identidade nacional e cultural irlandesa, pensamos a peça de Friel sob o enfoque da revisão histórica do nacionalismo, representada na releitura ficcional da colonização no período do século XIX. Para tanto, trabalhamos o desenvolvimento discursivo do nacionalismo irlandês para, então, focarmos na questão do discurso e suas formações e no pós-colonialismo como resposta às práticas hegemônicas. Por meio da seleção de trechos da peça – diálogos e rubricas –, analisamos a posição discursiva de cada personagem no embate cultural entre colonizado e colonizador, segundo as estratégias pós-coloniais de que se serve o escritor na representação do sujeito. Vemos que, em Translations, a busca por uma identidade livre de qualquer essencialismo revela uma consciência e intenção política do autor; além disso, subjacente a esse processo, está um exame “auto-crítico” da imagem do escritor pós-colonial e de seu posicionamento estratégico dentro da representação literária. / This dissertation is an analysis of Brian Friel’s play Translations (1980), based on a postcolonial reading of the Irish situation at the end of the 1970s. As the first production of the Field Day Theatre Company, Translations was part of a project which was aimed at reestablishing a political conscience in the artistic world regarding the nation’s tradition, as well as the Irish subject and his/her language. We propose that Friel’s play takes the form of a historical updating which operates both denotatively and figuratively, in which aspects of the colonial history of Ireland and England are used as a metaphor for contemporary problems involving the Republic and the North. Thus, in seeking a concept for Irish national and cultural identity, we consider Friel’s play as a form of nationalist historical revision, represented as a fictional re-reading of nineteenth-century colonisation. We study the discursive development of Irish nationalism in order to focus on the issue of discourse and its formation, as well as on post-colonialism as a response to hegemonic practices. Based upon a selection of extracts from the play – both dialogue and stage directions –, we analyse the discursive position of the principal characters with regard to the cultural confrontation between colonised and coloniser, according to the postcolonial strategies available to the writer in his representation of the subject. In Translations, we see that the search for an identity free of essentialism reveals the author’s conscience and political intention; in addition, we demonstrate that Friel is conducting a self-critical examination of the image and strategic position of the postcolonial writer.

Orientador: Maria José Rodrigues Faria Coracini / Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem / Made available in DSpace on 2018-08-17T05:49:07Z (GMT). No. of bitstreams: 1 Jalabert_AdelineMarie_M.pdf: 693645 bytes, checksum: 2bfca3c4ab3f575b1f3c54f1c26de6ac (MD5) Previous issue date: 2010 / Resumo: No romance Zazie dans le métro (1959), Raymond Queneau explora a linguagem coloquial, valendo-se da língua que chamou de neo-francês. O autor faz um verdadeiro "exercício de estilo" oral popular, em que mistura registros e faz paródias, imprimindo ao romance, além de um ritmo rápido, redundâncias, ortografia fonética, ausência de concordâncias gramaticais, arcaísmos etc. em franca oposição aos preconceitos em relação à língua oral. O oulipiano questiona a língua, provocando o leitor e obrigando-o a se distanciar da linguagem a que está habituado. Este trabalho propõe uma reflexão sobre a violência observada tanto no texto dito 'original' de Queneau, quanto na tradução e, em particular, na passagem do neo-francês à língua portuguesa do Brasil. Se a própria escrita de Zazie na língua original (o neo-francês) já é um exercício, da tradução espera-se um trabalho que podemos chamar de "trabalho dobrado". Para tanto, admite-se a violência na tradução, o que permite levantar várias questões relativas à língua, à cultura, à identidade, à dicotomia entre língua oral e língua escrita, entre obra original e obra traduzida, além de questionar os limites e as proibições, a criação literária, o trabalho do tradutor, as normas acadêmicas, o desafio da escrita e favorece a divulgação de obras literárias importantes / Abstract: In the novel Zazie dans le métro (1959), Raymond Queneau explores colloquial language, making use of what he called neo-French. The author makes a real popular and oral "exercise in style", mixing registers and parodies, making the novel fast paced and using redundancy, phonetic spelling, grammatically incorrect expressions, archaisms etc. in clear opposition to the prejudices about oral language. The oulipian questions language and culture provoking the reader and forcing him to distance himself from the language he is accustomed to. This work proposes a reflection on violence observed both in Queneau's 'original' text and in its translations, particularly between neo-French and Brazilian Portuguese. If the actual writing of Zazie in the original language (neo-French) was already an exercise, in translation, a kind of "double work" is expected. Admitting violence in translation allows us to raise several issues relating to language, culture, identity, the dichotomy between oral and written language, and between original work and translated work, to limits and prohibitions, literary creation, the work of the translator, academic standards, the challenge of writing and dissemination of important literary works / Mestrado / Teoria, Pratica e Ensino da Tradução / Mestre em Linguística Aplicada

When a translator gets a new mission, even though he or she has a lot of experience in the subject, there are great responsibilities when it comes to the exactitude of the information in the translation. The translator can be responsible that the reader miscomprehends the text if the translation is perceived as strange in the target culture. Proper names are very close to cultural differences and, as such, are quite problematic to translate. What the translator can do in order to avoid these problems is to apply a translation strategy during his work. This study has the aim to find an adequate strategy to the translation of proper names in French socio-political texts. In order to analyse different proper names and apply a method, we had to translate a socio-political text into Swedish, more specifically a part of a political text written by Denis Pelletier in 2005 called “L’école, l’Europe, les corps: la laïcité et le voile” which is about the banning for young girls to wear the Islamic veil in French schools. The study highlighted two matters. First, is there a specific strategy that can be applied to French proper names when they are translated into Swedish that are not well known to a Swedish reader? Second, are there any complications to solve in proper names that are related to cultural differences between the source language and the target language? In order to answer these questions we chose to use the theories of Jean-Paul Vinay and Jean Darbelnet presented by Jeremy Munday in Introducing Translation Studies. Theories and Application (2012) that helped us when certain translations of proper names were complicated and it helped us justify changes in the translation. The work on proper names by Peter Newmark presented in A Textbook of Translation (1988) helped us to identify six categories of proper names precisely; toponyms, names of ministries, institutional names, names of public bodies, anthroponyms and names of political parties. While analysing the result we found that the different solutions proposed by Newmark were not applied to each translation of proper names. In addition, the most frequently used translation method was the procedure of couplets.

(in English): This thesis focuses on a review of the criminal terminology in the Czech translations of five novels by F. M. Dostoevsky. The paper covers the following novels: 1) Crime and Punishment; 2) Demons; 3) Notes from the House of the Dead; 4) The Brothers Karamazov and 5) The Idiot. The main objective of the manuscript is to analyze the legal terms in these novels and to ensure accurate translations into the Czech language from a legal and linguistic perspective. These findings may be of significant assistance in future translations of these Dostoyevsky's novels into Czech. Analýza trestněprávní terminologie v českých překladech vybraných románů F. M. Dostojevského Analysis of the Criminal Law Terminology in the Czech Translations of Selected Dostoyevsky's Novels ALLA TYMOFEYEVA Vedoucí práce: PhDr. Stanislav Rubáš, Ph.D. Praha 2017

édition critique du commentaire au Parménide de l'humaniste Marsile Ficin, avec traduction française annotée et introduction / Doctorat en philosophie et lettres, Orientation histoire des religions / info:eu-repo/semantics/nonPublished

Doctorat en philosophie et lettres / info:eu-repo/semantics/nonPublished