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1
Laurer, Janin. "The translation of song lyrics in popular music : German lyrics and their translation into English." Thesis, Linnéuniversitetet, Institutionen för språk (SPR), 2019. http://urn.kb.se/resolve?urn=urn:nbn:se:lnu:diva-79882.
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This study investigates the translation of song lyrics and presents an analysis of translation outcomes. While the majority of previous studies regarding song translation focuses on the translation of lyrics from musicals and operas, this study focuses on the translation of popular song lyrics. The lyrics of eight German songs and their English versions were analysed using the approximation approach (Franzon 2009) which divides smaller textual units into the categories paraphrase, metaphrase and addition. The target texts (henceforth TT) were also categorised according to Peter Low’s (2013) song translation categories, translation, adaptation and replacement text. The aim of this study is to determine to what degree the meaning of the source texts (henceforth ST) is transferred into the TTs and to determine how Franzon’s approximation approach can be used to determine if the TTs are translations, adaptations, or replacement texts. This study found that all TTs were mostly made up of paraphrases and metaphrases, which means that all TT derived to most parts directly from the STs i.e. the TT was written using mostly direct and oblique translations. Due to the low frequency of additions and all significant details of the STs being transferred into the TTs, all song translations analysed in this study were categorised as translations.
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Bahr, Cathérine. "Übersetzung moderner arabischer Lyrik am Beispiel der Songtexte von Arabic-Rock-Bands." Master's thesis, Universitätsbibliothek Leipzig, 2014. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-154924.
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Die Diplomarbeit \"Übersetzung moderner arabischer Lyrik
am Beispiel der Songtexte von Arabic-Rock-Bands\" beschäftigt sich mit der Frage, wie man einen arabischen Rocksong so ins Deutsche übertragen kann, dass er genreintern so originalgetreu wie möglich nachspielbar bzw. nachsingbar ist. Als mögliche Herangehensweise an das Übersetzen von Songtexten im Allgemeinen und Texten arabischer Rockbands im Besonderen beleuchtet diese Arbeit einzelne Schritte und Aspekte des Songtextübersetzens und untersucht die stilistischen Mittel, die in den Songtexten von Rockbands Verwendung finden.
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Åkerström, Johanna. "Translating Song Lyrics : A Study of the Translation of the Three Musicals by Benny Andersson and Björn Ulvaeus." Thesis, Södertörns högskola, Institutionen för kultur och kommunikation, 2010. http://urn.kb.se/resolve?urn=urn:nbn:se:sh:diva-4612.
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The primary aim of the present study is to gain an understanding of the translation process involved when translating song lyrics by investigating to what extent 10 translation features occur in a corpus of 12 song lyrics from the musicals CHESS, MAMMA MIA! and Kristina från Duvemåla. Comparing the source texts to the translated texts, taking into account: number of words, syllables vs. words, word-for-word translations, additions/omissions, metaphors, rhymes, reorganization of text, paraphrases and last if there were any untranslated English words kept in the Swedish version – led to the conclusion that the translation strategy of using paraphrases (express something written in other words) was the most common translation strategy used when translating song lyrics. In addition, translating song lyrics also requires a translator who is musical, has good association skills, a large vocabulary and is also very good at playing with words. Taking the findings into consideration it could be said that the word 'translation' should be avoided in reference to the act of transferring the song lyrics of a musical in one language into another language. More apt descriptive phrases for this process would probably be 'text arrangement' or 'interpretation'.
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Kaross, Luciana. "The amateur translation of song lyrics : a study of Morrissey in Brazilian media (1985-2012)." Thesis, University of Manchester, 2014. https://www.research.manchester.ac.uk/portal/en/theses/the-amateur-translation-of-song-lyrics-a-study-of-morrissey-in-brazilian-media-19852012(146f03bd-3f57-4fa2-bd9a-37ef8376feda).html.
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This thesis investigates the field of amateur translation in Brazil, with particular emphasis on the translation of Morrissey’s lyrics for understanding purposes in four different sources: magazines, fansites, virtual communities and general websites. It examines whether existing theories on the translation of popular songs (Kelly 1987, and Low, 2003, 2005, 2008) find some resonance in the practice of amateur translators. The collective construction of meaning, and the social acceptance of the Target Text are essential parts of the process. The analysis follows Toury’s (1995) descriptive model in order to systematise how these translators operate. The Brazilian amateur translators’ regularity in the use of particular techniques to render meaning to lyrics for understanding purposes enables the description of their practice as a genre its own. Following the theoretical framework, chapters four, five and six focus on the translation of the main challenges amateur translators of Morrissey’s lyrics face. The translation of cultural aspects proved to be an exercise of creativity in which the translators had to provide equivalents to culture-specific items (Aixelá, 1996) that find no mirror in the target culture. Ambiguous lyrics tended to present translations as varied as the translators’ personal agendas, understanding of the lyrics or target language’s limitations, such as lack of neutral personal pronoun. The different humour and irony styles in source and target culture resulted in every group of translators finding their own strategies to render meaning. As the first project aiming to rationalise amateur translators of lyrics in Brazil, this study represents an attempt to enrich and broaden the discussion on the translation of pop songs, with special attention to the practices of translation for this type of texts in a country where the audience is high dependent on translations in order to understand the lyrics are in great demand.
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Nylund, Carolina. "Transexotic : worse than dengue, better than LDS." Thesis, Konstfack, Institutionen för Konst (K), 2013. http://urn.kb.se/resolve?urn=urn:nbn:se:konstfack:diva-4001.
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Transexotic. "Come as you are as you were as I want you to be" Menu Starter: Nachos with Mexican sauce. Main course: Chilli con carne in Santa María taco shells, Fish in pasilla chilli and Rajas con crema y queso. Dessert: seasonal delicacies. Hostess: Rosinha Transexotic, a familiar figure to everyone from Evert Taubes The Girl from Havana and Lill Lindfors Teresa . "The project Transexotic by the artist Carolina Nylund addresses international stereotypes, specifically the idea of " the other " as it may be projected or manifested through one's own personality. To what extent do we allow and accept that our personalities, our identities are formed in part by the limited two-dimensional caricatures invented and maintained by forces and phenomena external to us? Nationalism, patriotism, politics, ethnicity, subcultural affiliation, gender, sexuality, career, family: there are countless factors that may play a role in shaping an identity and which can also affect how we are perceived by others. And when we feel that gaze, how does that affect us? " - Finbar Krook Rosato, Curator, Atelier 123.
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Passannanti, Erminia. "Essay writing, lyric diction and poetic translation in the work of Franco Fortini." Thesis, University College London (University of London), 2004. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.406749.
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Reid, Joshua. "Lyric Augmentation and Fragmentation of the Italian Romance Epic in English Translations." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/2861.
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The translation and transmission of the Italian romance epics of Boiardo, Ariosto, and Tasso across linguistic and cultural boundaries also included genre reprocessing. This paper traces how Elizabethan translators and compilers of these texts tended to read epic lyrically, or to read the lyric into (and out of) the epic. For Elizabethan translators of the Italian Romance Epic—Sir John Harington, Edward Fairfax, and Robert Tofte, for example—this transmutation meant amplification or insertion of lyrical material, such as Fairfax’s enhancement of the Petrarchan subtext of the Armida Blazon in Book 4 of Gerusalemme Liberata and Robert Tofte’s injection of his own Petrarchan mistress Alba into Boiardo’s Orlando Innamorato. Another trend, demonstrated by Robert Allott’s English verse anthology Englands Parnassus (1600), involved extracting lyrical fragments from the romance epic that function as stand-alone poems.
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Cameron, Anne Louise. "The English translation of seventeenth-century French lyric poetry and epigrams during the Caroline period." Thesis, Durham University, 2008. http://etheses.dur.ac.uk/2531/.
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This doctoral thesis is the first comprehensive study of contemporary English translations of French lyric poetry during the Caroline period. While there has been extensive study of translations from French literature of other genres, notably drama, translations of lyric poetry have been largely ignored. The thesis examines the translations within the context of literary and cultural trends in France and England during the seventeenth century. Differing cultural tendencies and reader expectations are evident both in the selection of particular poems for translation, and in the changes translators made to their source texts. Chapter one contains background information on the social and literary relations between France and England during the seventeenth century, and an overview of the social and political conditions in which poetry was written in each country. Chapter two investigates where and how translators obtained the texts of the poems they translated, and in particular the use of the recueils collectifs as sources for translations. Chapters three, four and five provide a thematic overview of the most significant and interesting translations. The themes chosen - eroticism, love and nature - constitute those most popular with translators, and the representation of these themes in both the original poems and the translations is closely connected to wider literary and cultural tendencies in both France and England. Having provided a thematic overview of the translations, chapters 6 and 7 examine some of the more technical and linguistic aspects of the practice of translating from contemporary French poetry in Caroline England. Chapter seven studies the translation of the French lyric voice, and the effects of this on the representation of themes, particularly love and nature. Chapter eight examines the English treatment of some aspects of seventeenth-century French prosody, placing these and the changes made by translators in the context of prosodic developments in both France and England. The conclusion highlights patterns identified in translators' handling of the source texts; these draw attention to the literary and cultural differences between France and England in the seventeenth century, and demonstrate that French poetry is altered in English translation to suit the tastes of translators and their intended English readership.
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Erdmann, Amanda Bishop. ""A poem, a fervid lyric, in an unknown tongue": translation, multilingualism, and communication in Charlotte Bront'︠s Shirley /." Diss., CLICK HERE for online access, 2009. http://contentdm.lib.byu.edu/ETD/image/etd2968.pdf.
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Erdmann, Amanda Bishop. "A Poem, a Fervid Lyric, in an Unknown Tongue: Translation, Multilingualism, and Communication in Charlotte Brontë's Shirley." BYU ScholarsArchive, 2009. https://scholarsarchive.byu.edu/etd/1739.
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In this essay, I will argue that looking at translation and multilingualism both as a mode of storytelling and as a theme of Brontë's second published novel Shirley can help to uncover previously untapped moments of connection and understanding in the novel. Brontë's exploration of translation and use of multilingualism reveals a sincere urge to connect in spite of tremendous difficulties—connect her characters to each other, connect her narrator to her readers. It is an ambitious, over-reaching goal, which Brontë did not ultimately attain. Yet, for Brontë, her (especially female) characters, and her narrator, translation in all its forms represents their earnest, if ultimately unfulfilled, desire to communicate—to be correctly comprehended and "well-rendered" as texts, whether they are translated by other characters within the novel or by an unseen reader without.
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Antunes, Carlos Leonardo Bonturim. "Ritmo e sonoridade na poesia grega antiga: uma tradução comentada de 23 poemas." Universidade de São Paulo, 2009. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-24112009-134831/.
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Este trabalho consiste de uma tradução comentada de vinte e três poemas gregos dos períodos Clássico e Arcaico. Essa tradução foi realizada buscando recriar o ritmo e a sonoridade dos textos originais, mas sem se afastar demasiadamente do plano do sentido, de modo que não é uma recriação livre. O trabalho é introduzido por um breve estudo a respeito do ritmo e da sonoridade, tanto na literatura grega quanto em termos gerais.This work is comprised of a translation, followed up by a commentary, of twenty-three greek poems from the Classical and Archaic periods. The translation was carried out with a view to recreate the rhythm and sound of the original texts, without, however, allowing it to stray too far from the meaning, lest it would become a free recreation. The main work is introduced by a brief study regarding rhythm and sound, both in greek literature and in general terms.
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Ferreira, Marcio Maua Chaves. "Os cantos de Sófocles: tradução e análise de gênero e metro das passagens líricas d\'As traquínias, Ájax e Antígona." Universidade de São Paulo, 2014. http://www.teses.usp.br/teses/disponiveis/8/8143/tde-12112015-120929/.
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A presente pesquisa tem a finalidade de traduzir as passagens líricas de três tragédias de Sófocles, As Traquínias, Ájax e Antígona, e analisá-las do ponto de vista dos elementos de gênero nelas encontrados e dos metros e estrofes que compõem sua estrutura. Na parte introdutória do trabalho, a cronologia das peças elegidas e as características de forma e conteúdo que apresentam em comum são discutidas com o fim de se mostrar que, se não formam um primeiro grupo de tragédias, como pretendem alguns autores, seriam ao menos as mais antigas dentre as peças supérstites de Sófocles. O primeiro capítulo da primeira parte da dissertação estabelece uma comparação entre os metros e os tipos de estrutura estrófica empregados nos poemas sob análise e aqueles presentes nas composições dos poetas líricos não dramáticos. O segundo capítulo divide-se em cinco seções, cada uma com um poema tomado como caso de estudo para por em questão um gênero determinado e a sua relação com o poema escolhido: (i) o párodo d\'As Traquínias (hinos e preces da tradição grega); (ii) o canto monostrófico (205-24) da mesma peça (ditirambo, peã e cantos nupciais [hymenaios, epithalamios]); (iii) o primeiro estásimo também dessa tragédia (odes epinícias); (iv) o seu segundo estásimo (canção de boas-vindas [prosphonetikon]); (v) e o primeiro kommós (806-82) de Antígona (lamento fúnebre [threnos]). As traduções das passagens elegidas, antecedidas por uma nota a respeito de seus critérios, formam a segunda parte da dissertação, que se finda então com as considerações finais, que buscam dar maior unidade ao trabalho, relacionando não só os dois capítulos da primeira parte, mas os poemas não tratados de modo específico naquelas cinco seções dessa primeira parte com os temas nela trabalhados ao longo da pesquisa. Como apêndice ao trabalho há a escansão de todos os poemas traduzidos e um glossário com todos os metros encontrados nos poemas, sua classificação e abreviatura.The present research aims to translate the lyrical passages of three Sophoclean tragedies, Trachiniae, Aias, Antigone, and analyze them in terms of the elements of genre found therein and of the strophes and meters that make up its structure. In the introductory part of the work, the chronology of the selected plays and the form and content features they have in common are discussed so as to demonstrate that, if they do not constitute a first group of tragedies, as some authors claim, they should at least be placed among the oldest extant plays by Sophocles. The first chapter of the first part of the dissertation provides a comparison between the meter and the types of strophic structure employed in the poems under consideration and those present in the compositions of non-dramatic lyric poets. The second chapter is divided into five sections, each with a poem taken as a case study concerning a particular genre and its relationship with the poem chosen: (i) the parodos of Trachiniae (hymns and prayers of the Greek tradition); (ii) the monostrophic song (205-24) of the same play (dithyramb, paian and wedding-song [hymenaios, epithalamios]); (iii) the first stasimon also of this tragedy (epinician odes); (iv) its second stasimon (welcome-song [prosphonetikon]), (v) and the first Antigones kommos (806-82) (dirge [threnos]). The translations of the selected passages, prefaced by a note regarding their criteria, form the second part of the dissertation, which then ends with concluding remarks that seek to give greater unity to the work, relating not only the two chapters of the first part, but also the poems not treated specifically in those five sections of the first part with the themes that were elaborated there during the research. As an appendix to this work there is a scansion of all translated poems and a glossary with all meters found in the poems, their classification and abbreviation.
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Sneddon, Shelagh Anne. "The lyrical poetry unique to the Las Huelgas Codex : an edition of the text with translation and commentary." Thesis, University of Cambridge, 1993. https://www.repository.cam.ac.uk/handle/1810/251646.
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Piantanida, Cecilia. "Classical lyricism in Italian and North American 20th-century poetry." Thesis, University of Oxford, 2013. http://ora.ox.ac.uk/objects/uuid:4422c01a-ba88-4fe0-a21f-4804e4c610ce.
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This thesis defines ‘classical lyricism’ as any mode of appropriation of Greek and Latin monodic lyric whereby a poet may develop a wider discourse on poetry. Assuming classical lyricism as an internal category of enquiry, my thesis investigates the presence of Sappho and Catullus as lyric archetypes in Italian and North American poetry of the 20th century. The analysis concentrates on translations and appropriations of Sappho and Catullus in four case studies: Giovanni Pascoli (1855-1912) and Salvatore Quasimodo (1901-1968) in Italy; Ezra Pound (1885-1972) and Anne Carson (b. 1950) in North America. I first trace the poetic reception of Sappho and Catullus in the oeuvres of the four authors separately. I define and evaluate the role of the respective appropriations within each author’s work and poetics. I then contextualise the four case studies within the Italian and North American literary histories. Finally, through the new outlook afforded by the comparative angle of this thesis, I uncover some of the hidden threads connecting the different types of classical lyricism transnationally. The thesis shows that the course of classical lyricism takes two opposite aesthetic directions in Italy and in North America. Moreover, despite the two aesthetic trajectories diverging, I demonstrate that the four poets’ appropriations of Sappho and Catullus share certain topical characteristics. Three out of four types of classical lyricism are defined by a preference for Sappho’s and Catullus’ lyrics which deal with marriage rituals and defloration, patterns of death and rebirth, and solar myths. They stand out as the epiphenomena of the poets’ interest in the anthropological foundations of the lyric, which is grounded in a philosophical function associated with poetry as a quest for knowledge. I therefore ultimately propose that ‘classical lyricism’ may be considered as an independent historical and interpretative category of the classical legacy.
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Mickiewicz, Adam. "Adam Mickiewicz : Basni w serbskich pśełožkach. - zestajał Alfred Měškank." Universität Potsdam, 2013. http://opus.kobv.de/ubp/volltexte/2013/6050/.
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Die vorliegende Ausgabe der „Potsdamer Beiträge zur Sorabistik – Podstupimske
pśinoski k Sorabistice“ Adam Mickiewicz, Gedichte in sorbischer Übersetzung,
zusammengestellt von Alfred Měškank stellt den Jubiläumsband Nr. 10
unserer Serie dar. Wir sind sehr stolz darauf, die Serie herausgeben zu dürfen
und vor allem darauf, das Jubiläum mit so einem würdigen Inhalt zu begehen.
Adam Mickiewicz (1798-1855) gilt als der größte polnische Dichter, vergleichbar mit J. W. v. Goethe in Deutschland oder John Byron in England. Seine Werke sind in viele Sprachen übersetzt und dadurch in der ganzen Welt bekannt geworden. Bedeutende sorbische Dichter und Übersetzer, wie z.B. Jakub Bart-Ćišinski und Otto Lehmann-Wićaz haben seine Gedichte auch ins Sorbische übersetzt, doch diese Übersetzungen sind verstreut und dem heutigen Interessenten kaum zugänglich. Einige seiner bedeutsamsten Werke, besonders sein Versepos „Pan Tadeusz”, sowie Teile seines dramatischen Werkes „Dziady” fanden erst in neuerer Zeit einen Übersetzer. Die vorliegende Edition, die eine Zusammenstellung aller bisher ins Sorbische/Wendische übersetzten Werke des großen polnischen Dichters der Romantik darstellt, schließt diese Lücke nun.This edition of Adam Mickiewicz’s poems in Sorbian translation, compiled by Alfred Měškank, represents the anniversary edition # 10 of our series "Potsdam Contributions to Sorabistics - Podstupimske pśinoski k Sorabistice” . We are very proud to release the series and especially flattered to celebrate the anniversary with such a worthy content. Adam Mickiewicz (1798-1855) is considered the greatest Polish poet, comparable to JW Goethe in Germany or to John Byron in England. His work has been translated into many languages, and thereby become known throughout the world. Significant Sorbian poets and translators, such as Jakub Bart-Ćišinski and Otto Lehmann-Wićaz have also translated his poems into Sorbian language, but these translations are scattered and difficult to access from today's prospective. Some of his major works, particularly his epic poem "Pan Tadeusz", as well as parts of his dramatic work "Dziady" found only recently a translator. The present edition, which is a compilation of all previously published works of the great Polish romantic poet in Sorbian/Wendish language, fills this gap now.
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Orrego, Natalie. "Musikalen Dear Evan Hansen på svenska : Översättning och kommentar av ett musikallibretto." Thesis, Stockholms universitet, Tolk- och översättarinstitutet, 2020. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-183525.
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Denna kandidatuppsats består av en översättning av sju scener ur librettot till en musikal (Dear Evan Hansen av Steven Levenson, Benj Pasek och Justin Paul) och en översättningsteoretisk kommentar. Kommentaren ger först en kort översikt över musikalgenren och behandlar sedan översättningsarbetet, från källtext till måltext. I kommentaren beskriver jag min översättningsprincip, till vilken jag har använt mig av både Johan Franzons funktionella översättningsperspektiv (Franzon, 2009) och H. S. Drinkers principer (Drinker, 1950). Jag tar även upp de utmaningar och problem som jag stött på under översättningsarbetet och förklarar hur jag har löst dessa. Jag reflekterar också över hur musikallibrettots särskilda egenskaper har påverkat de val jag gjort i min översättning.This bachelor’s thesis consists of a translation of seven scenes from a musical libretto (Dear Evan Hansen by Steven Levenson, Benj Pasek och Justin Paul) and a commentary of this translation. The commentary first provides a brief overview of the musical genre and proceeds to describe my translation, from source text to target text. The commentary describes my translation principle, which is inspired by the functional perspective of Johan Franzon (2009) as well as the principles of H. S. Drinker (1950). I also deal with the specific challenges encountered during the translation and describe how I handled them, as well as how the specific characteristics of the musical libretto has influenced my translation.
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Aiello, Traorè Flavia. "Life and Poems of Bi Zainab Himid (1920-2002) – in Swahili with English Translation. Maisha na Tungo za Bi zainab Himid (1920-2002) – kwa Kiswahili na tafsiri yake kwa Kiingereza. Ed. by Sauda Barwani and Ludwig Gerhardt. Köln: Rüdiger Köppe Verlag, 2012, 331 pp, 2 b/w photos, 8 facsimile reproductions, hardcover, size 18 x 26 cm, ISBN 978-3-89645-286-3." Universitätsbibliothek Leipzig, 2015. http://nbn-resolving.de/urn:nbn:de:bsz:15-qucosa-162784.
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Souza, Silva Patricia. "A Casa d’Heleno Godoy : présentation, critique et traduction." Thesis, Pau, 2018. http://www.theses.fr/2018PAUU1050/document.
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La maison est un lieu privilégié de l’intime, ayant des tonalités distinctes pour chacun. A Casa est un recueil de poèmes du poète contemporain brésilien Heleno Godoy, réunissant les aspects matériels de la maison par un langage objectif. En privilégiant la concréticité de cet espace, l’auteur propose au lecteur de bâtir son propre lieu intime. C’est une expérience poétique singulière, car en partant des images concrètes, le lecteur peut s’abstraire de la dureté du quotidien pour finalement l’envisager sous sa poéticité. C’est justement l’affrontement de la maison réelle par la poésie, qui permet au lecteur de se trouver dans une demeure qui ne se situe pas à l’extérieur, mais à l’intérieur de lui-même. Il s’agit effectivement d’un lyrisme de la réalité. Cette étude a pour objectif de présenter A Casa au public francophone, en apportant son exégèse ainsi que sa première traduction. Pour ce faire, la thèse comporte deux parties, ainsi qu’une proposition de traduction d’A Casa. La première partie situe l’auteur et l’œuvre dans leurs contextes, pour analyser ensuite le recueil choisi. La seconde partie traite du processus traductif de ce recueil, revenant sur les concepts de traduction, notamment celui de la traduction poétique, pour tenter d’en préciser le rapport entre la théorie et la pratique. Suit un commentaire détaillé des difficultés rencontrées lors de la translation de cette œuvre en français. Une version française d’A Casa conclut cette thèseA house is a privileged place for intimacy, offering distinct tones for everyone who looks at it. A Casa, by the contemporary Brazilian poet Heleno Godoy, is a collection of poems combining the material aspects of a house with an objective language. Privileging the concreteness of this space, the author proposes to the reader to build his own intimate place. It is a singular poetic experience because, starting from concrete images, the reader can abstract or distance himself from the hardness of everyday life to finally consider it under its poeticity. It is precisely the confrontation of the real house with poetry, which allows the reader to find himself in a house that is not outside, but inside himself. Indeed, it is a lyricism of reality. This study aims to present A Casa to the French-speaking public, bringing its exegesis as well as its first translation. To do this, the thesis is composed of two parts, plus a translation proposal of A Casa. The first part situates the author and the book in their contexts, then analyzes the chosen collection. The second part deals with the translation process of this collection, returning to the concepts of translation, poetic translation in particular, to try to specify a relationship between theory and practice. What follows is a detailed commentary on the difficulties encountered during the process of translating the work into its French version. Finally, the thesis makes a bilingual presentation of A Casa in its original Portuguese form and its French translation in its end
A casa é um lugar privilegiado do íntimo, possuindo tons distintos para cada um. A Casa, do poeta contemporâneo brasileiro Heleno Godoy, é uma coleção de poemas que combina os aspectos materiais da casa com uma linguagem objetiva. Ao privilegiar a concretude desse espaço, o autor propõe ao leitor de construir seu próprio lugar íntimo. É uma experiência poética singular, pois, a partir das imagens concretas, o leitor pode abstrair-se da dureza do cotidiano para finalmente reconsiderá-lo sob seu carácter poético. É precisamente o confronto da casa real com a poesia, que permite ao leitor de reencontrar-se numa residência que não está no exterior, mas dentro de si mesmo. De fato, trata-se de um lirismo da realidade.Este estudo tem como objetivo apresentar A Casa para o público de língua francesa, trazendo sua exegese, bem como sua primeira tradução. Para isso, esta tese divide-se duas partes, além de uma proposta de tradução de A Casa. A primeira parte primeiro situa o autor e a obra em seus contextos, depois traz análises inéditas sobre esse trabalho. A segunda parte trata do processo de tradução desta obra, retornando aos conceitos de tradução e de tradução poética, especialmente, para tentar especificar uma relação entre teoria e prática. Seguido de um comentário detalhado das dificuldades encontradas durante a tradução deste livro para a língua francesa. Finalmente, a tradução bilíngue de A Casa será produzida ao final da tese
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Lan, Yi-Han, and 籃奕涵. "The Quality of Western Music Lyrics Translation through Internet Text." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/4s2tsp.
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碩士實踐大學
應用外語學系英語溝通碩士班
105
Lyrics translation is a special area in translation. The lyrics translators should take into consideration the original music characteristics, target culture and target language. In order to present the concepts of original texts, translators need to pay more attention to each word, considering every detail during the translation process. Lyrics translation is not rare in Taiwan but the translated texts are filled with mistakes. As technology improves day by day, pop music lyrics can be downloaded and found from the Internet more easily than before. However, the accuracy of translated texts is still in doubt. The invisibility and anonymity of the Internet translators prompt us to think about translators’ responsibility. This thesis will discuss music lyrics translation, translation strategies, ethics, and cultural topics through the translated lyrics text from the Internet translators in Taiwan. The research finds that the quality of Internet volunteer translators’ translation is unstable owing to cultural differences, level of language ability and other reasons. Part of the Internet volunteer lyrics translations are direct rendition of source texts. However, such lyrics translation cannot bring the readers equivalent effect and feelings.
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Fang, Yun-Tong, and 方韻茼. "Lyrics Translation in Three Musical Films: Rent, Les Misérables, Chicago." Thesis, 2017. http://ndltd.ncl.edu.tw/handle/m7773v.
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碩士國立臺灣師範大學
翻譯研究所
105
Musical film has been a popular film genre and many songs from musical films have become part of our daily lives. Yet, song translation or lyrics translation has received little discussion. Lyrics in musical films, as musical text, are closely combined with music and show certain musical properties. Thus it is a difficult task for translators to render target lyrics that can properly convey the sense of the original and show musical properties at the same time. The thesis analyzes the lyrics part of the translations of three musical films, Rent, Les Misérables, and Chicago. The analysis focuses on three musical properties displayed by most lyrics, that is, phonological/ sound effects, rhythm, and correspondence of lyrics. By comparing source lyrics, target lyrics and music structure, the thesis examines whether the target lyrics can display those properties and whether they can match the music in three aspects, the three layers of singability proposed by Johan Franzon. Through the analysis, the thesis attempts to find out what strategies could be adopted in order to retain or recreate musical properties in target lyrics and make target lyrics function best for the audience.
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Liu, Mei-hui, and 劉美慧. "A Case Study in Lyrics Translation of The One Hundred and One Best Songs." Thesis, 2013. http://ndltd.ncl.edu.tw/handle/6r394b.
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碩士國立臺灣師範大學
翻譯研究所
101
The One Hundred and One Best Songs was published by Taiwan Provincial Education Association in March, 1952. Eighty nine songs were translated by eight translators: Hsiao Er–hua, Chou Zue–pu, Hai Chou, Chang Yi, Liu Ting–fang, Wang Fei–li, Ting Tso–jen, Wang Yu–yuan. This was the first lyrics translation activity led by Taiwan Government. As several worldwide famous songs in this book are collected in the music textbooks in primary education, almost everyone is familiar with lyrics translation since young. However, lyrics translation has not received much attention from the research community. The purpose of this thesis is to explore language phenomena, musical elements and cultural contents of the Chinese lyrics. Adopting Christiane Nord’s text analysis method, this study discusses lyrics translation strategies, the challenges the translators faced, and also the background and function of The One Hundred and One Best Songs. The findings in this text analysis indicate that the lyrics translation of these world-famous songs followed a certain pattern and rules during that period. Except sacred songs, translators were free to choose between faithful expression and total rewrite. These translators used various rhetorical devices to demonstrate the literariness of the lyrics in accordance with the contemporary Chinese poetics. Rhyming and musicality was considered a necessity, while a certain foreignization was applied. This research also finds that there is no unified standard for translating these lyrics in terms of their language use or rhetorical devices. What is clear is that the themes of the song lyrics were rendered morally right and spiritually encouraging. As these world-famous songs traveled, they have been transformed and adjusted to our cultural contexts. Through music, the educational purpose and the appreciation of the world culture has been achieved by these successful lyrics translation.
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Delamar, Maureen Harrington. ""Truste 3e raþir to lettirs written in þ'is" a selection of Middle English death lyrics in translation /." 2003. http://www.lib.ncsu.edu/theses/available/etd-11042003-143836/unrestricted/etd.pdf.
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Havrdová, Fathi Mai. "Překlad a recepce francouzského šansonu." Master's thesis, 2011. http://www.nusl.cz/ntk/nusl-313328.
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The topic of the present paper is the translation of the French chanson into Czech. The paper focuses on the analysis of eight lyrics from the repertoire of G. Brassens, J. Brel and E. Piaf (the translators are J. Dědeček, P. Kopta, M. Balejová and S. E. Brandejsová). The paper examines prevailing functional characteristics of the originals and the extent to which these have been maintained in the various Czech translations. Special attention is given to the relation between semantic accuracy and "successful" translations, meaning here translations which maintain the prevailing functional characteristics of the original. Preceding the analysis is the theoretical part of the paper in which we introduce some terms and theoretical models applied by theoreticians in the field of translation (J. Levý, K. Reiss, P. Low), insofar as these terms and models are relevant to the topic.
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Borková, Anna. "Překladatelská tvorba Jaromíra Nohavici." Master's thesis, 2019. http://www.nusl.cz/ntk/nusl-393573.
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The diploma thesis focuses on the translation of Jaromir Nohavica's work. The aim of the thesis is to define Nohavica's translation style on the basis of detailed translatological analysis of his translations of Bulat Okudzhava and Vladimir Vysotsky. At the same time, the translations of Milan Dvorak and Petr Kovarik are analysed. The analysis is extended by a brief analysis of a song score which works as a verification of a hypothesis whether the chosen translations are songful not only in Jaromir Nohavica's presentation. The theoretical part of the thesis is dedicated to Jaromir Nohavica's personality, particularities of lyrics translation, author song and their authors. Thanks to a complex approach, the diploma thesis describes a translation style of a significant representative of Czech culture which has not been so far individually introduced. Key words Jaromir Nohavica, translation style, translatological analysis, authorial song, Bulat Okud- zhava, Vladimir Vysotsky, lyrics translation, score
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Stehlíková, Aneta. "Šanson jako komplexní mluvní akt a jeho přeložitelnost." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-330084.
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Title of the thesis: The chanson as a complex speech act and its translatability Keywords: chanson, translation, song lyrics, chansonnier, interpretation, acting, nonverbal communication, Aznavour, Bécaud, Piaf, Hegerová, Gott, Čeřovská, cabaret Abstract: The aim of the thesis is to describe the possibilities and the limits of translatability of chanson with regard to song lyrics and dramatic performance. The main contribution consists in determination of a relation between borrowed chansons and their French originals. The realization of the thesis is based on a research on the field of literary translation and acting on the one hand and on the analysis of song lyrics and dramatic performances on the other hand. The analyses in both cases concern three selected French chansons and Czech versions corresponding to them. The first part of the thesis defines the chanson and explains its historical development in the Czech territory. The theory of literary translation and lyrics translation is presented and applied to the translation of chanson in the second part. The third part deals with possibilities of a dramatic interpretation of chanson on the basis of the theory of acting. The last part brings a double analysis which concerns song lyrics and dramatic interpretation of chosen pairs of chanson.
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Coldiron, A. E. B. "Lyric translations from French (1440-1591) /." 1996. http://wwwlib.umi.com/dissertations/fullcit/9708572.
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Kumar, Akash. "Si' come dice lo Filosofo: Translating Philosophy in the Early Italian Lyric." Thesis, 2013. https://doi.org/10.7916/D8H13865.
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This study pushes back to the origins of the Italian lyric tradition in order to demonstrate that the impulse to distill the highest levels of intellectual culture into the vernacular love lyric was present from the very inception of the poetic vernacular. I aim to nuance our understanding of the divide between the early schools of poetry as determined by Dante in his role as a literary historian by analyzing early experiments in vulgarizing philosophy and science in the lyric production of Giacomo da Lentini, Guido delle Colonne, Guittone d'Arezzo, and Guido Guinizzelli. By isolating both formal elements of Scholastic argumentation and complex renderings of philosophical/scientific ideas, I develop a broad understanding of the early vernacular poetic engagement with Aristotelian philosophy that encompasses such areas as sensory perception, meteorology, and ethics. I trace the progression of this engagement from its Sicilian beginnings to the poetry of Guido Guinizzelli that is informed by the university culture of Bologna and posit that this early lyric form of vernacular humanism has profound implications for Dante's poetic identity as well as the development of a vernacular intellectual identity that feeds in to such developments as Humanism and the Scientific Revolution.
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Daley, Jessica, and 戴潔希. "Lyrical Poetry in The Hobbit: A Comparative Analysis of Three Chinese Translations." Thesis, 2019. http://ndltd.ncl.edu.tw/handle/efax4x.
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碩士國立臺灣師範大學
翻譯研究所
107
Since the publication of J.R.R. Tolkien’s The Hobbit, or There and Back Again, the book has become one of the world’s most beloved children’s classics. In this book, there are 16 poems that are sung by different characters. Of these poems, four lyrical poems play a pivotal role, for they illustrate the personalities of the characters, set the tone for the chapter, and take the reader through the arc of the plot. Therefore, the aim of this thesis is to investigate which strategies were used during the translation process and explore how the four poems were expressed in the three Chinese translations of The Hobbit published in Taiwan. The results show that due to the lack of research and misinterpretations of the original text, there are many errors and mistranslations in all three translations.
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Kurbatova, Tetiana. "Lyrika a epos Sergeje Yesenina v českých překladech." Master's thesis, 2020. http://www.nusl.cz/ntk/nusl-436592.
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(in English): The thesis is devoted to the study of the main characteristics of lyrics and epos in the works of Sergei Yesenin, translated into Czech. Typical features of Yesenin's poetics are examined in the theoretical part of the thesis. The practical part is devoted to the analysis of translations of poems from the "Moskwa Kabatskaya" (Moscow of the Taverns) cycle and the reception of poet's works in the Czech society at various historical stages. The main translators of Yesenin's poems were Josef Hora, Bohumil Mathesius, Frantisek Kubka, Maria Marchanova, Jiri Vishka, Jiri Taufer, Vaclav Danek, Jan Zabrana, Emanuel Frynta, Ladislav Fikar, Zdenka Bergrova, Ludek Kubishta, Karel Milota, Miroslav Stanek and others. The attachment contains a list of publications of Yesenin's poems translated into Czech in the periodicals 1924 - 1927.
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WU, MIN-CHIA, and 吳敏嘉. "THE BOLD AND GRACEFUL PEN: TRANSLATIONS AND COMMENTARY OF CHANG HSIAO-FENG'S LYRICAL ESSAYS." Thesis, 1992. http://ndltd.ncl.edu.tw/handle/04815248019483405219.
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碩士輔仁大學
翻譯學研究所
80
TITLE PAGE COPYRIGHT SIGNATURE PAGE ABSTRACT ACKNOWLEDGEMENTS PART I. COMMENTARY ON CHANG HSIAO-FENG'S LYRICAL ESSAYS AND TRANSLATION PROCESS CHAPTER I. CHANG HSIAO-FENG, HER LIFE AND HER BOOKS CHAPTER II. CHANG HSIAO-FENG'S LYRICAL ESSAYS SAN-WEN AS LITERARY GENRE IN CHINESE LITERATURE SAN-WEN AS LITERARY GENRE IN TAIWAN CHANG HSIAO-FENG'S LYRICAL ESSAYS CHAPTER III. THE PROCESS OF TRANSLATION METHOD OF TRANSLATION SPECIFIC PROBLEMS IN THE TRANSLATION OF CHANG'S ESSAYS APPENDICES APPENDIX 1 CHANG HSIAO-FENG'S PUBLICATIONS APPENDIX 2 CHANG HSIAO-FENG'S ESSAY COLLECTIONS WORKS CITED PART II. TRANSLATIONS OF CHANG HSIAO-FENG'S LYRICAL ESSAYS INTRODUCTION PAINTING A SUNNY DAY NOT A TRAVELOGUE I DON'T KNOW HOW TO ANSWER ENCOUNTERS TIME FALLING STAR THE REASON FOR MAKING WINE I GIVE YOU A CHILD THE BOILING POINT ET. AL HE WAS A CHILD ONCE SEWN ON THE CHEST A WOMAN'S VIEW ON LOVE CONTRADICTIONS, PART II BOOKS, FALLING PERSON TO BE SORTED I AM GOING TO FLY A KITE ANOTHER'S STORY A DAB OF GREEN BECAUSE THEY ARE TOO YOUNG THAT THING COINCIDENTAL THOUGHTS GIVE ME AN EXPLANATION
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Habartová, Martina. "Překlady expresionistické poezie do češtiny. Analýza vybraných básní Jakoba van Hoddise, Georga Trakla a Else Lasker-Schülerové." Master's thesis, 2013. http://www.nusl.cz/ntk/nusl-321570.
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Jakob van Hoddis, Georg Trakl together with Else Lasker-Schüler belong to the leading representatives of early expressionist poetry. This thesis deals with translation analysis of their selected poems into the Czech language. The first part of the thesis describes the birth, evolution and essential ideas of expressionism, but also significant centres of literary course of events of that period and reception of expressionism in Bohemia and Moravia. The issue of artistic translation is further outlined with focus on the question of equivalence. The second part of the thesis includes analysis of selected poems, which are ordered according to the author and date of issue. One chapter is devoted to each poet, it briefly introduces his life to help point out aspects which have influenced his production, followed by analysis of poems that document the circumstances of their creation and comparisons of their translations. Key words: expressionist poetry, translation analysis, Jakob van Hoddis, Georg Trakl, Else Lasker-Schüler