Dissertations / Theses on the topic 'Paratexts in translation'

Este estudo propõe-se a discutir o potencial de recepção da obra de Clarice Lispector na Alemanha. Para tanto, fundamenta-se no ideário de tradução despontado nos anos de 1970, sobretudo na Teoria dos Polissistemas de Itamar Even-Zohar, nas normas de tradução de Gideon Toury e nos conceitos de reescrita e patronagem de André Lefevere. Combinada a estes princípios tradutológicos, a obra de Gérard Genette, Paratextos Editorias, auxilia na sistematização das funções e especificidades do corpus desta pesquisa, qual seja, os paratextos que apresentam e comentam as traduções alemãs dos livros de Lispector: textos das orelhas, resenhas literárias, artigos de jornal, dentre outros. Mediante a leitura descritiva e analítica destes elementos textuais, mapeia-se o papel e a influência de instâncias e agentes, tais como editoras e articulistas, na divulgação desta escritora no sistema literário alemão. Destarte, evidenciam-se novos matizes na recepção da literatura brasileira traduzida na Alemanha, na medida em que a imagem associada à obra de Lispector se desvencilha de determinados estereótipos relacionados ao Brasil e alinha-se à tradição da literatura ocidental.
This study aims to discuss the reception potential of Clarice Lispector\'s work in Germany. Therefore, it is based on the ideas of translation emerged in the 1970s, especially on the Polysystem Theory by Itamar Even-Zohar, the translation norms by Gideon Toury, and the concepts of rewriting and patronage by André Lefevere. In combination with these translational principles the work of Gérard Genette, Paratexts, supports the systemization of the functions and particularities of the corpus of this study, namely, the paratexts that present and comment the German translations of Lispectors books: blurbs, literary reviews, newspaper articles, among others. By means of describing and analyzing these textual elements this work aims at mapping out the role and the influence of instances and agents such as e.g. publishers and journalists on the dissemination of this writer in the German literary system. Thus, new tinges in the reception of Brazilian literature translated in Germany become evident, as the image associated with Lispector\'s work is uncoupled from certain stereotypes related to Brazil and aligned with the tradition of Western literature.

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
No Brasil oitocentista, além do desenvolvimento de uma literatura preocupada em pensar os elementos nacionais, é possível identificar a tradução dos clássicos com objetivo de instruir a sociedade letrada. Manuel Odorico Mendes foi significativo para esse movimento, optando pela tradução e emulação de Virgílio e Homero a fim de utilizá-los como ferramenta para um projeto político-pedagógico de formação. O maranhense foi o primeiro tradutor integral dos poetas latino e grego no Brasil e desenvolveu pequenos ensaios com considerações teóricas e historiográficas, ainda que não de forma sistemática, sobre a língua portuguesa, a tradução e os antigos. Suas notas são um ato de linguagem que, em conjunto com o material traduzido, podem ser entendidas como um manual de instrução para os letrados do novo cenário do Brasil do século XIX.
In nineteenth-century Brazil, in addition to the development of a literature concerned with the national elements, it is possible to identify the translation of the classics in order to instruct the literate society. Manuel Odorico Mendes was significant for this movement, opting for the translation and emulation such as Virgil and Homer in order to use them as tools for a political-pedagogical project of formation. Odorico Mendes was the first integral translator of the Latin and Greek poets in Brazil and developed essays that accompanied his translations. His notes are an act of language that, together with the translated material, can be understood as an instruction manual for the literates of the new scenario of nineteenth century in Brazil.

Des études sur la traduction des oeuvres nigérianes rédigées en anglais, de même que d’autres oeuvres africaines, ont conclu que les spécificités culturelles des oeuvres sont souvent conservées lorsqu’elles sont traduites en langues européennes, afin de préserver leurs éléments typiques. Cette thèse élargit ce champ d’analyse aux éléments qui se trouvent autour des oeuvres. Elle explore les paratextes (mises en page, titres, images de couverture, textes de présentation et préfaces) de romans nigérians rédigés en anglais et traduits en français de 1953 à 2013 pour découvrir comment les romans sont présentés au public français, en d’autres termes, comment le public cible est supposé recevoir les oeuvres. L’hypothèse de la thèse est que les perceptions du Nigéria ont influencé la présentation la commercialisation des oeuvres.Le concept des études descriptives de la traduction a été appliqué. Les différentes perceptions du Nigéria ont été définies. Par la suite, les paratextes des romans sources et des romans cibles ont été extraits et comparés pour découvrir des pratiques récurrentes dans les paratextes cibles et établir s’il y a eu des références aux images du Nigéria.Les résultats de l’étude révèlent que, tout comme la traduction d’oeuvres nigérianes (africaines) dans laquelle les spécificités culturelles sont souvent conservées dans le texte cible, les spécificités culturelles des oeuvres sont également conservées dans les paratextes des textes cibles et celles-ci indiquent que les romans sont présentés comme une documentation narrative de la culture et des valeurs nigérianes. Elles sont commercialisées en mettant en avant leur aspect exotique. En outre, les images du Nigéria ont non seulement influencé la présentation et la commercialisation des romans, mais ont également joué un rôle décisif lors du choix d’une oeuvre nigériane à traduire en français.Cette manière de présenter les oeuvres nigérianes au public français renforce les images négatives du Nigéria. Elle minimise les aspects esthétiques de ces romans et oblige le lecteur de s’engager avec les romans nigérians uniquement de ce point de vue
Research on the translation of Nigerian literary texts written in English, and even other African texts, has demonstrated that the cultural specificity of the texts is often retained when they are translated into European languages in order to preserve their local colour. This thesis adds to the scholarship by examining the elements that surround the texts. It explores the paratexts (layouts, titles, cover images, blurbs, synopses and prefaces) of Nigerian novels written in English and translated into French from 1953 to 2013 to determine how the novels are presented to the target audience, in other words, how the French audience is envisaged to receive the works. The hypothesis of the thesis is that the images of Nigeria influenced the presentation and promotion of the novels.The framework of descriptive translation studies was applied. Different perceptions of Nigeria were defined. Afterwards, the paratexts of the source and target novels were extracted and compared in order to find recurrent patterns in the target paratexts and to establish if there were references to Nigerian images in the paratexts.The findings of the research revealed that, like the translation of Nigerian (African) works in which the cultural specificity is preserved in the target texts, the cultural specificity of the works is also retained in the target-text paratexts, and it indicates that the novels are construed as narrative documentation of Nigerian culture and values. The works are marketed for their exoticism, which is emphasised in the paratexts. Furthermore, the images of Nigeria in France did not only shape the construal and marketing of the novels but also played a role in the selection of the works for translation.The presentation and promotion of these novels as documentation of Nigerian culture and values reinforce the negative images of Nigeria. It downplays the aesthetic qualities of the novels and can prevent a reader from engaging with Nigerian works from a different standpoint

This research looks into literary translations from Korean into English right after the Korean War (1951 to 1975), comparing them to the translations published in the later years of truce and development (1976 to 2000). The aim is to discern to what extent a historical situation of interest in another culture rises in parallel to the demand for literary translations from that culture. The comparison shows no direct correlation between one and the other, suggesting that the translation flows have a logic on its own. However, several relations are displayed. The more volumes in the flow and the longer the cultural exchange, the wider the availability of agents (translators, editors, publishers), and the more specialized they become. The presentation discourses also specialize, becoming more target-oriented. As the flow grew, Korean literature was presented in more specific terms; translation and translators lost visibility; and the commercial aim becomes more noticeable.
Este estudio investiga la traducción literaria coreano-inglés en Estados Unidos tras la Guerra de Corea (1951 a 1975) en comparación con la producción en los posteriores años de desarrollo (1976 a 2000). Su objetivo es dilucidar el alcance de la relación entre una situación histórica de interés en otra cultura y la demanda de traducciones literarias de esa cultura. La comparativa muestra la falta de una relación directa y sugiere que los flujos traductores tienen una lógica propia. Igualmente, muestra varias relaciones. A mayor número de volúmenes e intercambio cultural, mayor disponibilidad de agentes (traductores, agentes literarios, editores), y mayor la especialización de los mismos. Los discursos que representan el flujo también se especializan, orientándose a la cultura meta. Al aumentar el flujo, la literatura coreana se presenta en términos más específicos, la traducción y los traductores pierden visibilidad y se acentúa el fin comercial de las obras.
Aquest estudi investiga la traducció literària coreà-anglès a Estats Units al període posterior a la Guerra de Corea (1951 a 1975) en comparació a la producció en anys de bonança (1976 a 2000). Es tracta de comprovar si una situació històrica d’interès en una altra cultura té una correlació directa amb la demanda de traduccions literàries d’aquesta cultura. La comparació no mostra una relació directa i suggereix que els fluxos traductors tenen una lògica pròpia. A més, mostra altres correlacions. Quants més volums e intercanvis culturals, major disponibilitat d’agents (traductors, agents literaris, editors) i més especialitzats. Els discursos que presenten el flux també s’especialitzen, orientant-se cap a la cultura meta. A un flux més voluminós, la literatura coreana es presenta en termes més específics, la traducció i els traductors perden visibilitat i s’accentua la finalitat comercial de les obres.

El Japó és un país situat a una gran distància geogràfica i cultural respecte Espanya i, sumant això a la categoria d’oriental, implica una gran proliferació d’esteretips en la imatge d’aquest país. L’ús dels paratextos en la recerca en traducció és relativament recent i no hi ha gaires treballs que tractin sobre les traduccions del japonès a Espanya. Els paratextos són sovint el primer contacte del lector amb un llibre i, per tant, poden influir en la imatge que es formarà el lector en llegir el text. La imatge de l’altre, però, ja es comença a formar en el moment en què s’escullen determinades obres per traduir. Aquest treball s’emmarca en els estudis descriptius de la traducció, però incorpora un enfocament multidisciplinar, entre la sociologia de la traducció, la història de la traducció i els estudis culturals. Alguns dels conceptes fonamentals amb què treballem són els paratextos, la representació de l’alteritat, la selecció de textos per traduir i la traducció indirecta. Les nostres hipòtesis principals són que una part important de la imatge de l’altre japonès que s’ofereix en la literatura traduïda a la cultura meta comença en el moment de la selecció d’obres per traduir i es reelabora en els paratextos que envolten la traducció, i que la imatge de l’altre japonès que s’ofereix en aquests paratextos no ha variat significativament en els últims 40 anys. Per tal d’analitzar els paratextos de les traduccions, hem creat una base de dades que ens ha permès oferir una àmplia panoràmica de les traduccions del japonès a Espanya. El cos del treball es divideix en dues parts: l’anàlisi principalment quantitativa del corpus i l’anàlisi del subcorpus, una selecció de traduccions de les quals n’analitzem els paratextos en profunditat. El corpus inclou els llibres traduïts del japonès, directa o indirectament, i publicats a Espanya des del 1900 fins al 2014. Al llarg del temps s’observa una gradual tendència a l’alça en el nombre de traduccions, especialment en els últims deu anys. Gairebé la meitat de les traduccions són de llibres no literaris i, malgrat que hi ha diversitat temàtica, la major part dels llibres pertanyen a categories que s’identifiquen amb la imatge predominant del Japó (arts marcials, budisme, empresa i dibuix). Així doncs, la selecció d’aquestes obres per traduir reflecteix i reforça una imatge concreta del Japó. En les cobertes s’observa un predomini d’imatges que evoquen la tradició i figures femenines. El subcorpus consta de tretze edicions derivades de quatre traduccions d’obres de Kawabata i Mishima, de les quals n’analitzem els paratextos, principalment la coberta, coberta posterior, prefacis i notes al peu, entre d’altres. Amb aquesta anàlisi hem constatat l’ús reiterat d’estereotips en la presentació de l’altre, en els paratextos tant de publicacions antigues com recents. Els resultats mostren que, si bé l’ús d’imatges tradicionals ha disminuiït en termes proporcionals, els mateixos estereotips de fa 40 anys es segueixen utilitzant de forma abundant en els paratextos de les traduccions. Aquesta tesi suposa dues aportacions principals: d’una banda, mostra la importància dels paratextos en la creació i reforç d’imatges culturals i com els estereotips prevalen en la presentació de l’altre japonès i, de l’altra, inclou una extensa base de dades que pot ser útil per tothom interessat en la literatura japonesa o la seva traducció.
Japan is a country placed at a great cultural and geographical distance from Spain and, being categorized as “oriental”, its image has been widely represented using stereotypes. Paratext study in translation research is relatively new and, furthermore, there are not many studies dealing with Japanese translation in Spain. Paratexts are often a reader's first contact with a book, and thus they may influence readers' interpretation when reading the text. The image of the Other starts being shaped even earlier, when certain books are chosen to be translated. The framework of this study is Translation Descriptive Studies, including a multidisciplinary approach between translation sociology, translation history and cultural studies. Among the fundamental concepts we deal with are paratexts, representation of Otherness, selection of books to be translated and indirect translation. Our main hypothesis is that an important part of the image of the Japanese Other offered in translated literature in the target culture begins when books are selected for translation and that this image is reshaped in the paratexts that surround translation. Moreover, we think that the image of the Japanese Other offered in the paratexts has not significantly changed in the last 40 years. In order to analyse translation paratexts, a database was created, which allowed us to study a wide view of the translations from Japanese in Spain. The main body of this study has two parts: the analysis of the corpus, mainly quantitative, and the analysis of the subcorpus, a selection of translations whose paratexts are analysed in depth. The corpus includes all books directly or indirectly translated from Japanese and published in Spain from 1900 to 2014. Throughout time, the number of translations has been steadily increasing, especially in the last ten years. Almost a half of the total are non-literary books and, despite diversity in subjects, most of the books are in categories that fit into the predominant image of Japan (martial arts, Buddhism, business and drawing). Therefore, the selection of these works to be translated reflects and reinforces a specific image of Japan. In book covers, images evoking tradition and feminine characters are prevalent. The subcorpus consists of thirteen editions deriving from four translations of works by Kawabata and Mishima, whose paratexts are analysed: mainly book cover, back cover, prefaces and footnotes, among others. Through this analysis, we have verified the reiterated use of stereotypes in the presentation of the Other in the paratexts of both new and old publications. The results show that, even while traditional image usage has proportionally decreased, the same stereotypes used 40 years ago are still being widely used in the paratexts of translations. This dissertation includes two main contributions: on the one hand, it demonstrates the importance of paratexts in the creation and reinforcement of cultural images and how stereotypes are prevailing in the presentation of the Japanese Other and, on the other hand, it provides an extensive database which may be useful for anyone interested in Japanese literature or in its translation.

ABSTRACT (IT) Questa tesi costituisce il primo studio sistematico delle traduzioni di Carmen Martín Gaite, e del ruolo cruciale che svolsero nella sua opera e nella sua vita. I principali obbiettivi di ricerca sono la definizione del significato della traduzione nella biografia intellettuale della scrittrice e, rovesciando la prospettiva, l’influenza del suo approccio letterario nella pratica traduttiva e nello sviluppo di una teoria implicita della traduzione. Carmen Martín Gaite selezionava le opere da tradurre a partire dai propri interessi letterari ed esistenziali, e stabiliva innumerevoli connessioni dialogiche, avanti e indietro nel tempo, tra i testi e gli autori tradotti e la propria scrittura, attraverso annotazioni nei Cuadernos de todo, prologhi, note di traduzione, recensioni, citazioni e le più diverse declinazioni intertestuali della sua produzione narrativa. Nel tradurre, la scrittrice faceva ricorso alle proprie capacità letterarie per mediare tra l’autore del testo, i lettori intesi come imprescindibili ‘interlocutori’, e il traduttore stesso, di cui sottolineava il ruolo interpretativo. Inoltre, Carmen Martín Gaite sosteneva la necessita di un maggior riconoscimento del traduttore, considerato un “demiurgo della parola” al pari dello scrittore, con il quale condivide l’impegno e le responsabilità etiche ed estetiche. L’approccio traduttivo di Carmen Martín Gaite interpella le teorie della traduzione contemporanee da un punto di vista narrativo e comunicativo, ed è caratterizzato dall’integrazione dei requisiti etici ed estetici, dettati da una pratica orientata al lettore, con la visibilità intenzionale del traduttore, ottenuta mediante l’uso creativo dei paratesti. La ricerca è iniziata con la raccolta di tutti i dati di pubblicazione delle traduzioni di Carmen Martín Gaite e dei rispettivi paratesti (in particolare, prologhi e note del traduttore). Una volta fissato l’ordine cronologico di pubblicazione, il lavoro di ricerca ha affrontato lo studio delle molteplici relazioni tra ogni traduzione e le opere della scrittrice. Il risultato di questi due aspetti dell’indagine è presentato nelle ventiquattro sezioni che descrivono le caratteristiche principali di ogni testo tradotto, i suoi collegamenti con le circostanze della vita e della riflessione letteraria di Carmen Martín Gaite, e la sua influenza a lungo termine sul lavoro e il pensiero della scrittrice. Dopo un capitolo iniziale le diverse sezioni sono raggruppate in capitoli che corrispondono a quattro diversi periodi individuati nel lavoro e nella vita dell’autrice. Il secondo capitolo si snoda negli anni del silenzio narrativo tra Ritmo lento e Retahílas. Il terzo copre la stagione creativa successiva alla pubblicazione di El cuarto de atrás. Il quarto, segnato dal lutto e dalla rigenerazione, si conclude con la pubblicazione di Caperucita en Manhattan. Il quinto, infine, comprende gli ultimi anni di Carmen Martín Gaite, interamente dedicati alla letteratura. L’ultimo capitolo della tesi, che corrisponde alla terza tappa della ricerca, svolge le questioni di maggior rilievo emerse in particolare dall’esame dalle sue traduzioni di tre opere di Natalia Ginzburg. La proposta di alcuni esempi della pratica traduttiva di Carmen Martín Gaite è posta in relazione dialogica con un breve testo sulla traduzione della stessa scrittrice, con i principali contributi teorici dei Translation Studies, e con le riflessioni sul tema di José Ortega y Gasset e Octavio Paz.
ABSTRACT (EN) The thesis is the first in-depth study of the translations of Carmen Martín Gaite, and takes as its premise the pivotal role of translation in her life and literature. The main research objective is an investigation of the importance of translation in the writer’s intellectual biography, and, from another perspective, the impact of her literary approach on her practice, and implicit theory, of translation. Firstly, Carmen Martín Gaite determined which works to translate on the basis of her literary and existential concerns in a given moment. She established countless dialogical connections between the translated texts (and authors) and her own work, through entries in the Cuadernos de todo, prologues to the translated texts, translation notes, reviews, quotations, and frequent intertextual nuances in her own novels. Secondly, Carmen Martín Gaite drew on her literary skills to mediate between a text’s author, its readers, highly regarded as ‘interlocutors’, and its translator, whom she saw as playing an interpretative role. Her translation strategies combined the deliberate visibility of the translator, obtained through a creative use of paratexts, with the aesthetic and communication values of a target-oriented practice, and questioned contemporary translation theories from a narrative and communicative point of view. At the same time, she called for the recognition of the translator as a ‘demiurge of the word’, equal to the writer in terms of his or her commitment to ethical and aesthetic responsibilities. The research commenced with an assessment of the publication data of Gaite’s translations, and the collection of all related paratexts (in particular, prologues and translator’s notes). Having established the chronological order of publication, the research continued with an investigation of the relationship between each translation and Martín Gaite’s own works. The results of these two research phases are presented in twenty-four sections that describe the salient features and peculiarities of each translation text, the connections between that text and the circumstances of Martín Gaite’s life and literary reflections past and present, and its long-term influence on her work and thought. After the first preliminary chapter, the sections are grouped according to four distinct periods in the life and works of the author. The second chapter deals with the ‘narrative silence’ between Ritmo lento and Retahílas. The third covers the creative season from the publication of El cuarto de atrás to the death of Gaite’s daughter. The fourth, a time of mourning and regeneration, concludes with the publication of Caperucita en Manhattan. Finally, the fifth chapter encompass the last years of Carmen Martín Gaite’s life, entirely devoted to literature. The last chapter of the thesis, corresponding to the final part of the research, consists of a reflection on Martín Gaite’s translation of three original works by the Italian author Natalia Ginzburg. The different sections address some general questions in the translation practice of Carmen Martín Gaite and elucidate the findings with commentary and examples, comparing a short text on translation by the author herself with the leading contemporary contributions to Translation Studies, and with the reflections of Ortega y Gasset and Octavio Paz on translation.
ABSTRACT (ES) La tesis doctoral que aquí se presenta constituye el primer estudio sistemático sobre la labor traductora de Carmen Martín Gaite, y sobre el papel crucial de las traducciones en su vida y obra. Los principales objetivos de investigación son la definición del significado de la actividad de traducción en la biografía intelectual de la escritora y, desde una perspectiva opuesta, pero complementaria, la influencia de su planteamiento literario en su práctica traductora y en el desarrollo de una teoría implícita de la traducción. Carmen Martín Gaite seleccionaba entre los encargos de traducción las obras que estimulaban sus intereses literarios y existenciales en un determinado momento, y establecía innumerables conexiones dialógicas entre los textos, los autores traducidos y su propia obra, como testifican muchas entradas en los Cuadernos de todo, así como los prólogos, notas, reseñas y citas relativas a sus traducciones, además de las frecuentes reelaboraciones intertextuales presentes en su obra narrativa. En la labor traductora, la escritora se aprovechaba de su competencia literaria para mediar entre el autor del texto y los lectores, siempre muy valorados como imprescindibles “interlocutores”, reservando para el traductor un papel interpretativo. Asimismo, sostuvo la necesidad de un mayor reconocimiento para los traductores, que consideraba “demiurgos de la palabra”, tal como los escritores, con los cuales comparten el compromiso artístico y la responsabilidad hacia el lector. En su labor traductora, que se contrasta en la tesis con las teorías traductológicas contemporáneas, Carmen Martín Gaite integraba los requisitos éticos y estéticos dictados por una práctica orientada hacia el lector, con la visibilidad del traductor, obtenida intencionadamente mediante el uso creativo de los paratextos. En la primera etapa de la investigación se ha fijado el corpus completo y el orden cronológico de publicación de todas las traducciones, recogiendo también copia de todos los respectivos paratextos (en particular prólogos y notas de la traductora). Posteriormente, el trabajo se ha focalizado en la multitud de interrelaciones entre cada uno de los textos traducidos y la obra de la escritora. El resultado de estos dos aspectos de la investigación se presenta en los veinticuatro apartados que describen las características principales de cada texto, sus conexiones con las circunstancias de la vida y de la reflexión literaria de Carmen Martín Gaite, y su influencia a largo plazo en el trabajo y el pensamiento de la escritora. Los diferentes apartados están agrupados a lo largo de los capítulos que van del 2 al 5, que corresponden a los cuatro períodos individuados en el recorrido artístico y existencial de la escritora. El primero se desarrolla en los años de silencio narrativo entre Ritmo Lento y Retahílas. El segundo ocupa la fase creativa siguiente a la publicación de El cuarto de atrás. El tercero, marcado por el luto y la regeneración, concluye con la publicación de Caperucita en Manhattan, y el cuarto abarca los últimos años de vida de Carmen Martín Gaite, dedicados íntegramente a la literatura. El sexto capítulo de la tesis, que corresponde a la tercera y última etapa de la investigación, se centra en las cuestiones de mayor relieve traductológico surgidas, en particular, del análisis de las traducciones de tres obras de la autora italiana Natalia Ginzburg. En los diferentes apartados en los que está dividido, se ponen en relación dialógica algunos ejemplos de la práctica traductora de Carmen Martín Gaite con un breve texto de la misma autora sobre la traducción, con los principales planteamientos teóricos, y con las reflexiones sobre este tema de Octavio Paz y José Ortega y Gasset.

This thesis is concerned with how a set of different texts, all titled with various English or Icelandic versions of Egils saga, exists, can be interrelated, and may be read. The first level of interpretation, before reading of the text even begins to occur, is a response to the book as a physical object whose ordering encourages and excludes certain interpretations. The first two chapters analyze the six English translations of Egils saga: W.C. Green (1893), E.R. Eddison (1930), Gwyn Jones (1960), Christine Fell and John Lucas (1975), Hermann Palsson and Paul Edwards (1976), Bernard Scudder (1997): together with the Icelandic editions used as their source texts, in terms of paratext, as developed by Gerard Genette. The third chapter consists of translation analyses. These use some of the methods of traditional translation criticism, together with more liberal methods of analysis associated with 'Translation Studies', as established by Susan Bassnett, among others. I conclude that the reader of translations who intends to move between 'target language' (language of translation) and 'source language' (language for translation), or who is in the process of getting the freedom to make transitions between these languages, is a special case, and that there is a literature which exists for them. By this I mean that, while it can be liberating to read literary translations as works 'in their own right', there are areas in some literary translations where it is best, or possible, to manipulate several languages and culture levels. There are also literary translations where the play between source language and target language, texts and paratexts, is necessary to their existence. Although I retain the 'source' and 'target' terminology of Translation Studies, I begin the chapter by questioning the direction of the vector: "target" texts are in some senses the 'source' texts for the 'source' texts subsequently encountered by readers between languages. The final chapter studies processes of transformation in Egils saga, following the Islenzk fornrit text. It shows how the saga itself is concerned with the meaning and powers of language and processes of transmission: it translates itself, not in a modern self-reflexive sense, but with its own, historically particular aesthetic.

Esta pesquisa trata da análise de paratextos de determinadas obras escritas em francês, com as respectivas traduções para o português, a saber: Traité de Mécanique Élémentaire e o Tratado Elementar de Mechânica, de Francoeur; Élémens de Géometrie e Elementos de Geometria de LaCroix, e Traité dOptique e Óptica de Lacaille. Representantes das chamadas matemáticas mistas (em oposição às puras), esses manuais, compêndios elementares e tratados foram utilizados pelos alunos da Academia Real Militar do Rio de Janeiro, no início do século XIX. O propósito da pesquisa é mostrar como o processo de tradução do corpus utilizado na Academia Real Militar, bem como o projeto político em que se insere, marcado pela patronagem, evidenciam-se no processo de adaptação nas edições das obras em português. Não foi feita aqui uma abordagem com base em teorias didático-pedagógicas, e sim de natureza historiográfica e epistemológica. Nossa metodologia elegeu particularmente os paratextos dessas obras. Para compreender a distinção entre matemáticas mistas e puras, recorremos largamente a dicionários da época, a textos programáticos e estatutários e à Enciclopédia Francesa. Esta pesquisa também procura mostrar a Academia Real Militar enquanto uma última expressão do antigo regime, a rede clientelar envolvida na sua criação e a agência dos tradutores das obras para o português.
This research deals with the analysis of paratexts of a few books originally written in French along with their translations into Portuguese, namely the Traité de Mécanique Élémentaire and the Tratado Elementar de Mechânica, by Francoeur; Élémens de Géometrie and Elementos de Geometria by LaCroix; and Traité dOptique and Óptica by Lacaille. Representing the so called mixed mathematics (in opposition to pure mathematics), these manuals, elementary compendia and treatises were employed by the students of the Royal Military Academy of Rio de Janeiro in the early 19th century. The aim of the work is to show how the process of translation of such corpus employed in the Royal Military Academy, as well as the political project in which it is inserted, present themselves in the adaptation process necessary for the editions in Portuguese. We do not rely in any didactic-pedagogical approaches, but on historiographical and epistemological analyses. Our particular methodological option was to focus on the paratexts of such books. In order to understand the distinction between pure and mixed mathematics, we largely employed contemporary dictionaries, statutes, programmatic texts and the French Encyclopedia. The research also tries to present the Royal Military Academy as a final expression of the Ancien Régime, the clientele networks involved in its creation and the agency of the translators of the books into Portuguese.

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
Este trabalho tem como objetivo valorizar o paratexto como espaço de visibilidade do tradutor. Baseia-se na abordagem teórica dos estudos descritivos da tradução, com especial ênfase no conceito de normas tradutórias elaborado por Gideon Toury. A partir do estudo das normas, pode-se compreender e explicar o comportamento do tradutor e as diretrizes que regeram sua tarefa, o que torna especialmente visível o processo de mediação e o agente mediador. Segundo Toury, as normas tradutórias podem ser depreendidas a partir de duas fontes: a tradução em si e as formulações semiteóricas de tradutores, editores ou críticos. Para este estudo, selecionou-se um corpus constituído de prefácios, posfácios, introduções e notas do tradutor, que se insere nesse segundo tipo de fonte. Ao analisar o discurso do tradutor, procurando explicitar as normas que regeram seu trabalho, esta pesquisa contrapõe-se à defesa feita pelo teórico norte-americano Lawrence Venuti da estratégia estrangeirizadora que implica uma escrita de resistência ao texto fluente como forma de promover a visibilidade do tradutor. Levando-se em conta que, no Brasil de hoje, a fluência é a marca por excelência de uma boa tradução, constituindo não somente uma expectativa por parte dos leitores como um requisito por parte das editoras, propõe-se que o tradutor se torne visível no paratexto e, não, por meio de intervenções explícitas no texto traduzido, destacando que ambientes culturais diferentes requerem abordagens diferentes, e que teorias desenvolvidas em um dado sistema não devem ser aplicadas em outros sistemas sem os devidos ajustes aos respectivos contextos.
The purpose of this dissertation is to stress the role of the paratext as a space of visibility for the translator. The study is based on the theoretical approach of Descriptive Translation Studies, emphasizing the concept of translation norms developed by Gideon Toury. From the study of norms, it is possible to understand and explain the translators’ behavior and the guidelines that govern their tasks, which makes the process of mediation as well as the agent of this mediation especially visible. According to Toury, translation norms may be reconstructed from two major sources: the translated texts themselves and the semi-theoretical and critical formulations made by translators, editors and publishers. From the second of these sources, a corpus comprised of translators’ prefaces, introductions and notes was selected. The analysis of the translators’ discourses aims at reconstructing the norms that govern their tasks. Lawrence Venuti has argued that the translator disappears behind a fluent text that erases the foreignness of the original text. Accordingly, he proposes an approach to translation that resists fluency, stylistic and idiomatic norms as a way of promoting the translators’ visibility. In contrast, the present study argues that it is in the paratext, rather than in the translated text itself, that the translator may become visible in society. This study seeks also to show that different cultures require different approaches and that theories developed in a particular system should not be applied to other systems without the proper adjustments to their specific contexts.

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CAPES - Coordenação de Aperfeiçoamento de Pessoal de Nível Superior
A Kalevala finlandesa e o Popol Vuh guatemalteco têm inúmeras e surpreendentes similaridades, bem como uma quantia equiparável de diferenças marcantes. Algumas questões, entretanto, ressaem sobre as outras: suas origens orais, transpostas para o universo escrito em momentos de crise; suas numerosas retraduções e os extensos prefácios, posfácios e introduções escritos por teóricos-tradutores especialistas nas obras, contendo informações sobre o texto-fonte e seu contexto, a respeito do processo de tradução, além de dados sobre os povos e territórios nos quais as narrativas se originaram. Tais paratextos se constituem como ―zonas de transação‖ (GENETTE, 2009), nos quais as negociações de sentido entre tradutores anteriores, versões atuais, editoras e universidades se tornam visíveis em meio ao fazer tradutório, movimentando as obras em seus polissistemas literários e culturais. O ingresso brasileiro neste processo é recente, com a tradução de Sérgio Medeiros para o Popol Vuh (Iluminuras, 2007) e de José Bizerril e Álvaro Faleiros para a Kalevala (Ateliê Editorial, 2009). Nessas edições brasileiras, os temas mais recorrentes nas versões internacionais também se fazem presentes, com destaque para a história e a tradução, saberes esses voltados ao passado, os quais contribuem sobremaneira para a construção do imaginário espacial. Detalhamos, portanto, as obras e seus paratextos para que possamos nos dedicar ao estudo da história e da tradução a partir dos eixos temporal e espacial, optando, sempre que possível, por contemplar teóricos que discorressem sobre ambos os saberes, em especial Walter Benjamin, Paul Ricoeur e Itamar Even-Zohar. Concluímos que a literatura e tradução são polissistemas, ou seja, conjuntos relacionais e hierárquicos em eterna construção de conexões, desenvolvidas e renovadas ao longo do tempo. Os paratextos, tão ―híbridos‖ quanto os textos que vêm a apresentar, são parte integrante das grandes negociações interculturais, políticas e literárias operadas pela tradução. Por esse motivo propomos a noção de prisma, de forma a oferecer uma possibilidade de interpretação que demonstrasse os discursos que atravessam a Kalevala e o Popol Vuh, e de que forma as obras se configuram tanto como bens simbólicos quanto como produtoras de sentido.
The Finnish Kalevala and the Guatemalan Popol Vuh have countless and surprising similarities, as well as a somewhat equal amount of remarkable differences. Some matters, however, must be highlighted: their oral origins, transfigured into a written world in moments of crisis; their numerous retranslations and the extensive prefaces, postfaces and introductions written by theorist-translators specialized on the books, containing information about the source-text and its context, the process of translation, besides data regarding the peoples and territories where the narratives originated. Such paratexts constitute ―zones of transaction‖ (GENETTE, 2009), in which negotiations of meaning between past translators, present versions, publishing houses and universities become visible amid the translating activity, moving the works in their literary and cultural polysystems. The Brazilian point on entry in this process is recent, with the translation of the Popol Vuh by Sérgio Medeiros (Iluminuras, 2007) e of the Kalevala by José Bizerril and Álvaro Faleiros (Ateliê Editorial, 2009). In these Brazilian editions, the most recurrent themes in the international versions are also made present, i.e., history and translation, both forms of knowledge facing the past, which contribute greatly to the construction of a concept of space. We detailed, therefore, the works and their paratexts so that we could, then, dedicate ourselves to the study of history and translation on the axes of time and space, choosing, whenever possible, to contemplate authors who discussed both fields, especially Walter Benjamin, Paul Ricoeur and Itamar Even-Zohar. We concluded that literature and translation are polysystems, that is, relational and hierarchical gatherings eternally building connections, developed and renewed as time passes. The paratexts, as hybrid as the texts they aim to present, are part of the great intercultural, political and literary negotiations operated by translation, which is the reason why we proposed the notion of the prism, so as to offer a possibility of interpretation that demonstrated the discourses run through the Kalevala and the Popol Vuh, and in which manner the works are configured both and symbolic goods and as producers of meaning.

In the aftermath of the independence of Morocco and Algeria in the second half of the twentieth century, each sought to create one homogeneous nation-state, defining themselves as Arab, declaring Arabic language as the only official language and embarking on Arabisation campaign that attempted to eliminate any ethnic, cultural and linguistic diversity. The Berber community which comprised 40% of the Moroccan population (Madani 2003, Silverstein and Crawford 2004, Maddy-Weitzman 2006) and 25% of the Algerian population (Ennaji 2009) appeared to be relegated to an inferior position and pushed back to the peripheries. This situation gave rise to what is generally referred to as ‘the Berber question’; the Berbers became increasingly aware of their minority status and began to demand certain linguistic and cultural rights. Translation, most importantly the translation of the Holy Quran, became an important means of asserting these rights and the identity of the Berber as a distinct nation. Drawing on paratext theory as proposed by Genette (1997) and framing theory as put forward by Goffman (1974) and elaborated by others (e.g. Entman 1993, Snow and Benford 1988, 2000 and Asimakoulas 2009), the study investigated the role that three Berber translations of the Holy Quran have played in renegotiating the political landscape of Berber communities in the past eighteen years (1999-2017). Analysis of the three translations have shown that the translators, while being faithful to the text, managed to signal their difference, foreground their language and culture and question, challenge and even undermine widespread official claims, through subtle, counter-hegemonic moves, using framing strategies and a toolbox of paratextual devices.

A presente pesquisa tem por objetivo principal organizar a recepção do romance I Promessi Sposi (Os Noivos), de autoria de Alessandro Manzoni (1785-1873), no Brasil. A narrativa tem como protagonistas os jovens Renzo e Lucia que enfrentam as maiores dificuldades de seu tempo (a carestia, a fome, o domínio estrangeiro, as guerras e a peste no norte da Itália durante o século XVII) para realizar seu matrimonio e é uma das obras-primas da literatura italiana e mundial. Este trabalho estuda as maneiras pelas quais o romance manzoniano aporta em terras brasileiras, é acolhido e permanece como argumento de debates críticos, desde o primeiro registro encontrado por esta investigação até o ano de 2012, data da publicação da última tradução brasileira. Neste sentido, estudaram-se as diversas traduções, edições e adaptações publicadas deste romance no Brasil, atentando seja para a forma como se dá o transporte do texto original italiano para a língua portuguesa, seja para as questões relacionadas ao paratexto, isto é, o cuidado editorial empregado nesses textos. Organizou-se a também a recepção da crítica brasileira a I Promessi Sposi que se deu em forma de livros, capítulos, artigos em jornais, revistas e periódicos científicos, verbetes de enciclopédias e nos Boletins do Instituto Brasileiro Estudos Manzonianos. Da coleta e análise desse material buscou-se traçar o perfil que a recepção a I Promessi Sposi conferiu a Manzoni e sua obra-prima no Brasil.
The present research has as the main objective of organizing the reception of the novel The Betrothed, from Alessandro Manzonis authorship (1785-1873), in Brazil. The narrative presents as protagonists the young Renzo and Lucia who encounter the greatest difficulties of their time (inflation, hunger, the foreigner domination, the wars and the plague in the north of Italy during the XVII century) to make their wedding happen and it is one of the masterpieces of the world and Italian Literature. This thesis studies the manners by which the Manzonian novel arrives in Brazilian lands, is accepted and remains as argument of critic debates, since the first record found by this investigation until the year 2012, the publishing date of the last Brazilian translation. In this sense, diverse translations, editions and adaptations published of this novel in Brazil were studied, noticing the way the original Italian text was transferred into the Portuguese language, and the issue related to the paratext, namely, the editorial care used in these texts. The Brazilian critic reception of the Betrothed that happened in book form, chapters, newspaper articles, magazines and scientific journals, encyclopedia entries and the newsletters of the Manzonian Studies Brazilian Institute were also organized. From the gathering and analysis of these materials we searched to outline the profile that the reception of The Betrothed granted Manzoni and his masterpiece in Brazil.

Aquest estudi explora i problematitza el viatge de traducció de Simone de Beauvoir a Turquia a través de les dades textuals i paratextuals dels anys 50 endavant, amb una perspectiva conscient de gènere. La primera problemàtica està relacionada amb la (in)visibilitat de Beauvoir i la seva obra dins de l'espai cultural de Turquia. Si bé l'obra de Beauvoir havia estat àmpliament traduïda i llegida des de la dècada de 1960, no existien crítiques publicades de les seves traduccions. La segona problemàtica té a veure amb la seva parcial (i dolenta) representació. Com Beauvoir va ser introduïda per primera vegada a l'espai cultural de Turquia pels mateixos mediadors culturals (masculins) que van introduir Sartre en la intel·lectualitat turca, especialment en els anys 60 i 70, el seu nom es va associar amb el de Sartre i l'existencialisme, fins als anys 80 quan Beauvoir va ser finalment abordada per les feministes turques. La tercera problemàtica està, de fet, relacionada amb la segona, i és el retard en la recepció del vessant feminista de Beauvoir en el sistema cultural de Turquia. Per contextualitzar els resultats, s'argumenta que aquests materials paratextuals i textuals que van tenir un paper significatiu en la “reescriptura” de Beauvoir i la seva obra a Turquia ens donen diverses pistes sobre les postures culturals, socials, patriarcals, i ideològiques respecte “la qüestió de dona”, a l'espai cultural de Turquia.
Este estudio explora y problematiza el viaje de traducción de Simone de Beauvoir en Turquía a través de los datos textuales y paratextuales de los años 50 en adelante, con una perspectiva consciente de género. La primera problemática está relacionada con la (in)visibilidad de Beauvoir y su obra dentro del espacio cultural de Turquía. Si bien la obra de Beauvoir había sido ampliamente traducida y leída desde la década de 1960, no existían críticas publicadas de sus traducciones. La segunda problemática tiene que ver con su parcial (y mala) representación. Como Beauvoir fue introducida por primera vez en el espacio cultural de Turquía por los mismos mediadores culturales (masculinos) que introdujeron Sartre en la intelectualidad turca, especialmente en los años 60 y 70, su nombre se asoció con el de Sartre y el existencialismo, hasta los años 80 cuando Beauvoir fue finalmente abordada por las feministas turcas. La tercera problemática está, de hecho, relacionada con la segunda, y es el retraso en la recepción de la vertiente feminista de Beauvoir en el sistema cultural de Turquía. Para contextualizar los resultados, se argumenta que estos materiales paratextuales y textuales que tuvieron un papel significativo en la “reescritura” de Beauvoir y su obra en Turquía nos dan varias pistas sobre las posturas culturales, sociales, patriarcales, e ideológicas respecto “la cuestión de mujer”, en el espacio cultural de Turquía.
This study explores and problematizes the translational journey of Simone de Beauvoir into Turkey through the paratextual and textual data beginning from the 1950s onwards, with a gender-conscious perspective. The first problematic is related to the (in)visibility of Beauvoir and her work within the Turkish cultural space. While Beauvoir’s oeuvre has been extensively translated and read since the 1960s, no reviewers have commented on any translation at all. The second problematic has to do with her partial (mis)representation. As Beauvoir was first introduced into the Turkish cultural climate by the same (male) mediators who introduced Sartre to the Turkish intelligentsia, especially in the 1960s and 1970s, her name was associated with that of Sartre and existentialism, until the 1980s when Beauvoir was finally approached by Turkish feminists. The third problematic is in fact related with the second one, and it is the time lag in the reception of Beauvoir’s feminist side in the Turkish cultural system. To see the big picture and to contextualize the results, it is argued that these paratextual and textual materials which played a significant role in the rewriting of Beauvoir and her work in Turkey give us clues about cultural, social, patriarchal, and ideological stances on “the woman question” within the Turkish cultural space.

Orientador: Maria Viviane do Amaral Veras
Dissertação (mestrado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
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Resumo: David Lodge aborda a temática da surdez de forma bastante inusitada no romance Deaf Sentence (2008). O protagonista é Desmond Bates, um professor de Linguística Aplicada aposentado, que está ficando surdo e passa por mal-entendidos decorrentes de suas dificuldades em distinguir sons de palavras similares, o que confere ao romance tons humorísticos e irônicos. Por meio da escrita de um diário, o personagem relata sua rotina, abalada pela jovem Alex, e introduz o leitor a uma visão especializada sobre questões de linguagem e literatura, além de expressar com lucidez suas impressões sobre a surdez, dando voz, de forma singular, a essa questão, ainda invisível para muitas pessoas. Os desafios de tradução se apresentam de pronto pelo título (um trocadilho entre deaf e death e polissemia da palavra sentence) e perpassam a narrativa, revelando uma forte ligação entre alguns aspectos paratextuais do romance e a história em si. Deaf Sentence coloca o tradutor diante de trocadilhos e articulações intertextuais que tornam o romance aparentemente intraduzível, ao mesmo tempo, convoca a transposição de fronteiras de forma obrigatória, como exige a tradução do humor. Nesse sentido, as soluções adequadas para os diversos desafios de tradução do romance estão intimamente ligadas às estratégias e recursos utilizados pelo tradutor. A partir do conceito de paratexto cunhado por Genette (2009), são apresentadas análises do título, dedicatória, epígrafe e agradecimentos, presentes no texto original, com o objetivo de expor seus possíveis efeitos sobre leitores e tradutores e, consequentemente, o recente conceito de paratradução (Yuste Frías, 2010) é abordado com o intuito de endossar a importância da tradução de paratextos para a recepção de obras literárias. As análises de capas de algumas traduções permitem o estabelecimento de relações entre imagens do original e de diferentes versões do romance, além de revelarem (ou não) relações com o seu conteúdo. A tradução brasileira Surdo Mundo, de Guilherme da Silva Braga (2010), foco das análises, divide o palco com as traduções A vida em surdina, de Tânia Ganho (Portugal, 2011), La vida en sordina, de Jaime Zulaika (Espanha, 2010), e La vie en sourdine, de Maurice e Yvonne Couturier (França, 2008). É possível estabelecer diálogos entre essas traduções, e a utilização ou não de notas mostrou-se um elemento evidente da singularidade das decisões tomadas pelos tradutores diante dos desafios. A partir das discussões em torno da (in) traduzibilidade de textos humorísticos feitas por Brezolin (1997), Schmitz (1996, 1998) e Possenti (1991), abordam-se possibilidades de tradução criativa desses gêneros discursivos. Levando-se em conta as especificidades de Deaf Sentence, é proposto um diálogo entre algumas vertentes teóricas aplicáveis à tradução do humor: Rosas (2002), Campos (1970) e Reiss e Vermeer (1996). O cotejo entre trechos selecionados de Deaf Sentence e de Surdo Mundo revela que a tradução criativa, processo de negociação amplo entre texto original e tradutor, parece justificar tranquilamente a ausência de notas, enquanto a sua presença nas demais traduções analisadas, em alguns casos, parece advir da aceitação da intraduzibilidade de determinados desafios
Abstract: David Lodge approaches the topic of deafness in a very unusual manner in the novel Deaf Sentence (2008). The protagonist is Desmond Bates, a retired professor of Applied Linguistics who is going deaf and is subject to some misunderstandings arising from his difficulties in distinguishing sounds of similar words, granting the novel ironic and humoristic riffs. By writing a journal, the character reports his routine, shaken by Alex, a young woman, introducing the reader to a specialized view on issues of language and literature, as well as lucidly expressing his impressions regarding deafness, giving voice, in a singular manner, to this issue, still invisible to many. The challenges of translation are immediately presented in the title (a pun regarding deaf and death and the polysemy of the word sentence), and continue throughout the narrative, revealing a strong connection between some paratextual aspects of the novel and the story itself. Deaf Sentence presents the translator with puns and intertextual articulations, which make the novel seemingly untranslatable, while at the same time mandatorily summoning the transposition of frontiers, as is required in the translation of humour. To this end, the adequate solutions for the several challenges in translating the novel are intimately linked to the strategies and resources used by the translator. Based on the paratext concept coined by Genette (2009), this thesis analyses the title, dedication, epigraph, and acknowledgements in the original. The objective is to show their possible effects on readers and translators, and consequently the recent concept of paratranslation (Yuste Frías, 2010) is used in order to stress how important the translation of paratexts is for the reception of literary works. This thesis also analyses the book covers chosen for different translations, establishing relations between images of the original and the different versions of the novel, besides revealing (or not) relations with its content. The Brazilian translation, entitled Surdo Mundo, by Guilherme da Silva Braga (2010), is the main focus of the analysis, sharing the stage with the translations A vida em surdina, by Tânia Ganho (Portugal, 2011), La vida en sordina, by Jaime Zulaika (Spain, 2010), and La vie en sourdine, by Maurice e Yvonne Couturier (France, 2008). It is possible to establish dialogic relationships among these translations, and, the choice of whether or not to use notes proved to be a clear element of how singular the decisions made by the translators were before the challenges. Based on the discussions around the (un)translatability of humoristic texts made by Brezolin (1997), Schmitz (1996, 1998) and Possenti (1991), this thesis deals with the possibilities of creative translation of these discursive genres. Taking into account the specific aspects of Deaf Sentence, a dialogue is proposed between some theoretical perspectives applicable to the translation of humour: Rosas (2002), Campos (1970) and Reiss and Vermeer (1996). The comparison between selected passages of Deaf Sentence and Surdo Mundo reveals that the creative translation - the ample negotiation process between the original text and the translator - seems to easily justify the absence of notes, while their presence in the other translations analyzed, in some cases, seems to be generated by the acceptance that certain challenges were untranslatable
Mestrado
Teoria, Pratica e Ensino da Tradução
Mestra em Linguística Aplicada

In the existing scholarship on Chinese translation history, the shifting conceptualizations of translation from the 1890s to the 1920s have been presented as a teleological evolution from 'traditional', target-oriented translation norms to 'modern', source-oriented norms. In response to this virtually unchallenged grand narrative, the dissertation presents a more nuanced and complex picture of the changing conceptualizations of translation in China during this period. Using New Historicism to engage with Roland Barthes's theory of intertextuality and Gérard Genette's framework of paratextuality, the study builds an integrated theoretical framework for examining how the conceptual relationships between translating, writing, commenting, and editing (among a variety of other textual activities) changed during this period. Adopting Microhistory principles, the dissertation conducts three case studies of marginalized figures - Zhong Junwen (1865-1908), Zhou Shoujuan (1895-1968), and Wu Mi (1894-1978) - from Chinese translation history: by analyzing their translations and/or writings about translation in a range of textual forms such as translation reviews, prefaces, diaries, and pingdian commentaries, the dissertation reveals how these cultural actors blurred the boundaries between translating, writing, commenting, and editing within China's rapidly evolving publishing context and how their conceptualizations of translation were deeply grounded in the traditional Chinese notions of authorship. The results of the three case studies demonstrate how the conceptual boundaries between various textual activities were in flux during these four decades and that the shifts in the conceptualizations of translation were not a simple, linear development from 'traditional' to 'modern'. Apart from contributing to a better knowledge of Chinese conceptualizations of translation in a key period of Chinese translation history, the dissertation challenges the validity of adopting the theoretical models of intertextuality and paratextuality as universally applicable frameworks in translation studies.

The present dissertation is the result of the participation in the Language Toolkit project, a collaboration between the Chamber of Romagna, Forlì-Cesena and Rimini, and the School of Foreign Languages and Literatures, Interpreting and Translation of the University of Bologna. The aim of this project is twofold. First, it promotes the internationalization of local SMEs. Second, it provides a stepping stone towards professional integration for graduate students in Specialized Translation. In particular, this dissertation results from the internship agreement with Casa Editrice Polaris, a small publishing company based in Faenza and specializing in the field of travel writing, which entailed the translation of online book blurbs from Italian into English. The work was carried out in stages, each outlined in a different chapter of this dissertation. The first chapter presents a brief introduction to the Language Toolkit project, followed by an overview of the most recent key facts and figures on European SMEs and their internationalization, particularly focused on Italian SMEs in the publishing industry. Finally, it describes Casa Editrice Polaris and outlines the nature of the translation task. The second chapter covers the issue of directionality in translation and the theoretical debate revolving around inverse translation, its practice and acceptability. Finally, it presents an overview of the topic of translation into English as a Foreign Language (ELF). The third chapter concerns the functional analysis of paratextual elements as a genre, with specific regard to peritext, and of the main features of book blurbs and titles. The fourth chapter is dedicated to the functional analysis of the source texts, focusing on extratextual and intratextual factors. Finally, the fifth chapter presents the target texts resulting from the translation process, followed by a commentary describing the resources, tools, methods and strategies applied to carry out the latter.

A partir de minha tradução para o português brasileiro de The Magic Pudding (1918), novela infantil australiana escrita e ilustrada por Norman Lindsay, o objetivo desta dissertação é demonstrar as peculiaridades da tradução de literatura infantil ilustrada. Portanto, este estudo analisa o papel das ilustrações na tradução, enquanto levanta questões sobre a adaptação literária em uma época em que novos meios e tecnologias de leitura competem com o livro impresso pela atenção infantil. Como O Pudim Mágico é a primeira tradução da novela para o português, e devido à importância das ilustrações na narrativa, é proposta uma tradução estrangeirizada para que elementos da cultura e da natureza australianas, especialmente alimentos e animais, permaneçam visíveis no texto de chegada. Pelas mesmas razões, tanto o texto propriamente dito quanto as ilustrações são tratados como textos, respectivamente, verbal e pictórico, em oposição aos peritextos verbal e pictórico acrescentados ao texto de chegada. Este estudo é dividido em quatro capítulos: 1) apresentação da biografia e obra do autor, bem como do contexto em que The Magic Pudding foi escrito, seguida pelo resumo detalhado da novela, uma discussão sobre as peculiaridades da tradução para crianças e, baseadas principalmente em Lawrence Venuti e Gérard Genette, as justificativas para a abordagem estrangeirizante com o emprego de elementos peritextuais; 2) apresentação das estratégias de Javier Franco Aixelá para a tradução de itens culturais-específicos para discutir o tratamento de nomes próprios contendo significados culturais; considerando o leitor-alvo, é sugerido o acréscimo de elementos peritextuais, tais como novas ilustrações combinadas com um prefácio verbal, a fim de evitar o emprego de notas de rodapé; 3) análise da influência da ilustrações de Lindsay na tradução, com sugestões para o tratamento do texto verbal de chegada; 4) discussão sobre tópicos de adaptação e transmidiação de literatura infantil, com sugestões para tratar os textos verbal e pictórico na transposição de O Pudim Mágico de meio impresso a digital; com base principalmente nos estudos de Lars Elleström e Ellen McCracken, dispositivos digitais de leitura como o Amazon Kindle e o Apple iPad são analisados, concluindo-se que o texto-alvo é considerado uma tradução em formato impresso, uma remidiação em formato para Kindle e uma transmidiação em formato para iPad.
Based on my unpublished translation of The Magic Pudding (1918), Australian children’s novel written and illustrated by Norman Lindsay, this thesis aims at demonstrating the peculiarities of translating illustrated children’s literature. Therefore, it analyses the role of the illustrations in the translation while raising questions on literary adaptation at a time when new reading media and technology compete with the printed book for children’s attention. Given that O Pudim Mágico is the first translation of the novel into Portuguese and due to the importance of the illustrations in the narrative, I propose a foreignised translation to preserve Australia’s cultural and natural elements, in particular foods and animals, visible in the target text. For the same reasons, both the text proper and the illustrations are regarded as texts, respectively verbal and pictorial, in opposition to the verbal and pictorial peritexts added to the target text. This study is divided into four chapters: 1) a presentation of the author’s biography and oeuvre, as well as of the context in which The Magic Pudding was written, followed by a detailed summary of the novel, a discussion on the peculiarities of translating for children and, mainly based on Lawrence Venuti and Gérard Genette, a justification for the foreignising approach with the employment of peritextual elements; 2) a presentation of Javier Franco Aixelá’s strategies to translate culture-specific items in order to discuss the treatment of proper names that hold cultural meanings; considering the target reader, the addition of peritextual elements, such as new illustrations combined with a verbal preface, is suggested as a means to avoid the employment of footnotes; 3) an analysis of the influence of Lindsay’s illustrations on the translation with suggestions for the treatment of the verbal target text; 4) a discussion on issues of adaptation and transmediation of children’s literature, with suggestions for treating the verbal and pictorial texts in the transposition of O Pudim Mágico from printed to digitised media; based mainly on the studies by Lars Elleström and Ellen McCracken, digital reading devices such as Amazon Kindle and Apple iPad are analysed to conclude that the novel’s target text is deemed to be a translation in print format, a remediation on Kindle and a transmediation on iPad. Keywords: Adaptation. Australian Literature. Children’

The aim of this student thesis is to achieve a translation of an excerpt of a previously untranslated book from English to Swedish. The translated material has been collected from the autobiographical book Kingdom of Fear by the author Hunter S. Thompson and consists partly of paratexts. The translation has been performed in accordance with a principle that was formed within the theoretical frames of Gideon Toury’s Descriptive Translation Studies. Accordingly, the discussion about the translation is based on the terms adequacy and acceptancy. The paper includes analyses of relevant aspects of the translated material, for example genre, paratext, and persona related problems. To illustrate the translation process, comments on the translation are also enclosed, which deal with solutions regarding grammatical and syntactical changes, imagery and cultural-specific expressions.
Syftet med detta examensarbete är att åstadkomma en översättning av ett utdrag från ett tidigare oöversatt verk från engelska till svenska. Det översatta materialet är hämtat från det autobiografiska verket Kingdom of Fear av författaren Hunter S. Thompson och består bland annat av paratexter. Översättningen har utförts efter en princip som formulerats inom de teoretiska ramarna för Gideon Tourys Descriptive Translation Studies. Därmed utgår diskussionen kring översättningen från termerna adekvans och acceptans. Arbetet innefattar analyser på relevanta aspekter av det översatta materialet, exempelvis genre, paratext och personaproblematik. För att åskådliggöra översättningsprocessen medföljer även översättningskommentarer som behandlar lösningar angående grammatiska och syntaktiska ändringar, bildspråk och kulturspecifika uttryck.

PONTIFÍCIA UNIVERSIDADE CATÓLICA DO RIO DE JANEIRO
COORDENAÇÃO DE APERFEIÇOAMENTO DO PESSOAL DE ENSINO SUPERIOR
PROGRAMA DE SUPORTE À PÓS-GRADUAÇÃO DE INSTS. DE ENSINO
Esta tese de doutorado apresenta algumas contribuições para a construção de uma teoria do paratexto do livro traduzido. A teoria do paratexto, que tem por sua obra seminal Paratextos editoriais, de Gérard Genette, não inclui como objeto de análise esse tipo de paratexto. A proposta desta tese é, portanto, complementar a teorização de Genette, contemplando um tipo específico de paratexto do livro traduzido, o prefácio/posfácio do tradutor, com interesse especial pelos prefácios/posfácios do tradutor que tratam da tradução e do projeto tradutório. Os aportes teóricos utilizados são os oriundos dos Estudos de Tradução, Historiografia da Tradução e Teoria dos Gêneros Discursivos, com base em observações recolhidas na pesquisa em um corpus constituído por obras literárias francesas traduzidas no Brasil a partir de meados do século XX, em sua maioria parte integrante do acervo da Biblioteca Nacional no Rio de Janeiro.
This Ph.D. dissertation provides with some contributions to the construction of a theory of paratext of the translated book. The theory of paratext is mainly based on the seminal work by Gérard Genette, Seuils, in which the author doesn t enter the field of this kind of paratext. Therefore, this dissertation aims at complementing the theorization by Genette, focusing on the analysis of translators prefaces/postfaces and, among them, of prefaces/postfaces in which translators talk about the translation and their translation project. The theory approaches employed in this work came from Translation Studies, Translation Historiography and the Theory of Textual/Discoursive Genres, based on data gathered in the research of a corpus compounded of French literary works translated in Brazil and published since the middle of the 20th century. The books selected to be examined are part of the collection of the Brazilian National Library, located in Rio de Janeiro, mainly.

L'obiettivo di questa tesi è la traduzione, dallo spagnolo all'italiano, del romanzo Madre María della scrittrice argentina Florencia del Campo. Dopo la morte di sua madre malata di cancro, Florencia trova le storie cliniche della sua malattia e decide di usarle come base per scrivere un romanzo. A partire da questa idea, vuole fare letteratura con il discorso medico, descrivendo in parallelo la malattia della madre e la sua vita in un dato momento. Il romanzo apre un dibattito sugli obblighi familiari: da una parte c'è una madre malata di cancro, dall'altra c'è una figlia che lotta per trovare il suo posto nel mondo. La famiglia è descritta come un'arma a doppio taglio e la stessa scrittrice la paragona al cancro, sebbene la sua intenzione non sia tanto parlare di malattia e morte o della relazione madre-figlia, ma piuttosto di riflettere sulla letteratura e sui limiti del linguaggio. Il primo capitolo ricostruisce il profilo letterario della scrittrice. Inoltre, contiene l'intervista che ho avuto l'opportunità di farle durante il mio soggiorno a Madrid. Il secondo capitolo offre un'analisi dettagliata del romanzo, con un focus sulla struttura, gli elementi paratestuali, la trama, i personaggi, i temi principali del romanzo e lo stile adottato dall'autrice. Il terzo capitolo propone la traduzione di Madre Maria. Infine, l'ultimo capitolo fornisce un commento sulla traduzione, l'approccio metodologico adottato e il modo in cui i problemi sono stati affrontati e risolti, facendo un confronto tramite esempi concreti del testo di partenza e quello d'arrivo. Il mio obiettivo è stato mantenere la diversità culturale del prototesto - ricco di elementi specifici della cultura di partenza - nel metatesto e rispettare lo stile dell'autrice, che oltre a usare un linguaggio estremamente metaforico alterna anche due varietà dello spagnolo: la peninsulare e la rioplatense.

El objetivo del presente proyecto es el análisis completo y la propuesta de traducción al castellano de la obra literaria "Ali di farfalle", perteneciente al ámbito de la literatura infantil y juvenil. El libro, escrito por el autor italiano Giampiero Pizzol, narra la historia del patriarca bíblico Noé, que deberá transmitir la existencia de la vida eterna a los animales posdiluvianos. El proyecto consta de cuatro capítulos: el primero presenta un profundo estudio de la obra de Pizzol, concentrándose en el análisis de sus elementos paratextuales, contenido, temas, finalidad y estilo literario. De la misma manera, este primer capítulo incluye una entrevista al autor italiano, en la que se ahonda en su carrera teatral y literaria, así como en el porqué de ciertas decisiones estilísticas y argumentales tomadas a lo largo de la obra. Por su parte, el segundo capítulo conforma un marco teórico sobre la literatura infantil y juvenil, prestando especial atención a sus posibles definiciones, su traducción y su posición en el panorama literario actual. En el tercer capítulo se presenta la traducción al castellano de "Ali di farfalle", a la que sigue el cuarto y último capítulo con el comentario de la misma. Este análisis profundiza en los aspectos más relevantes en los que se ha intervenido a lo largo del proceso de traducción, como son la metodología, el título, las ilustraciones, la puntuación, el léxico, la fraseología, los juegos de palabras o los poemas. Por último, el proyecto termina con unas conclusiones que resumen los contenidos tratados y una opinión sobre el mundo de la traducción actual.

La tesi propone la traduzione/adattamento del libro per bambini “Superpaco y los niños poseídos” di Juana Cortés Amunarriz, pubblicato nel 2018 dalla casa editrice spagnola NubeOcho. Il lavoro è composto da quattro capitoli. Il primo si concentra sull’analisi del testo di partenza (genere di appartenenza, casa editrice, illustratrice, autrice, elementi paratestuali, trama, i personaggi, elementi spazio-temporali, stile e lingua utilizzata per affrontare i temi trattati direttamente e indirettamente dall’autrice). Il secondo capitolo verte sulla figura del supereroe e dell’antieroe, che Superpaco/Paco Montes, protagonista del racconto incarna pienamente. Il terzo capitolo è dedicato alla proposta di traduzione nella versione italiana Superpino e i bambini posseduti. La traduzione viene commentata nel quarto e ultimo capitolo, in tutti quegli aspetti meritevoli di attenzione: paratesto, antroponimi e toponimi, lessico, fraseologia, giochi di parole, sintassi, elementi culturali e illustrazioni.

This thesis investigates and examines the manifestations of ideology in paratexts, specifically concentrating on forewords and afterwords in Czech translations of novels written during the Spanish Golden Age and translated into Czech between 1948 and 1989. To uncover and classify each display of ideology, a new methodology was proposed. Its creation was based on research documented in the theoretical part of this thesis which discusses translatological concepts, studies ideology and censorship and characterizes the literature of Spanish Golden Age. The translatological concepts covered in this thesis are: the communicative model and praxeology of Anton Popovič, André Lefevere's concept of rewriting, and the paratext theory of Gérard Genett. The functionality of the proposed methodology was tested in the thesis's empirical part, in which nine paratexts were analyzed. On the basis of this paratext analysis, the trends of each ideology manifestations were established as well as factors that contribute to their presence.

This theses focuses on Olga Krijtova (1931-2013), Czech translator from Dutch. The aim is to introduce Olga Krijtova within the framework of reception of Dutch literature in Czech cultural environment. In order to explore this framework, the thesis compares Czech and Dutch culture from translatological point of view, outlines the history of Czech-Dutch relationshiops and Dutch literary translations into Czech, as well as the history and current state of the academic discipline of Dutch studies. In the 20th century, Olga Krijtova had contributed greatly to making the Dutch literature available for Czech recipients. The thesis aims to find out how many translations done between the years 1957-2016 are Krijtova's or her students' work. Further, it summarizes her teaching and linguistic work. However, the main focus is her translation activities, which is studied by means of translation analysis in the second part of the thesis. The final aim is to review and interpret Krijtova's translation strategies and methods, as well as to assess her overall contribution to the reception of Dutch literature within the Czech environment and to the Dutch studies in the Czech Republic. Key words: Olga Krijtová, Dutch translations, Dutch studies, translation analysis, literary translations

The objective of the present doctoral thesis is to describe the reception of Czech literature in Spain between 1900 and 2015 with a special emphasis on German as a mediating language for translation between Czech and Spanish, placing Czech research of this phenomenon into a broad international context of investigating the role of languages and cultures in multilingual communities. The thesis further explores issues partially covered by previous research (Uličný 2005, Špirk 2011, 2014, Cuenca 2013). The theoretical part first provides a short historical context of both countries, commenting on their bilateral relations during the 20th century, analysing the publishing sector and describing the official censorship. It then provides a detailed investigation of indirect translations and introduces diverse methods in which they can be explored, highlighting the importance of paratextual material, that is paratexts (Genette 1982, 1987) and metatexts (Popovič 1975, 1983), and the influence of censorship and dominant ideology (Abellán 1980, 1982, 1987; Neuschäfer 1994). Methodologically, the present work relies on Czech and Slovak translation studies (Levý, Popovič) and the Spanish TRACE project (Rabadán, Merino). The empirical part uses the methodological tools of critical discourse analysis, author's...

This dissertation, entitled Utopia Refracted through Mandarin Lenses, examines the legacy of Thomas More's Utopia (1516) in three aspects: translations, paratexts, and afterlives. It explores how Utopia - as a book and as a construct - has been appropriated into the Mandarin context during the process of linguistic and cultural transfer in the acts of translation. Employing close reading, instrumental case study, and the concept of paratexts to survey fourteen standalone Mandarin translations of Utopia, this study aims to fill in the gap of a previously neglected aspect of utopian studies, especially its paratextual apparatus, which has been almost entirely overlooked (with only one exception in 2003) since its first translation in 1935. This dissertation is structured into four chapters: the first chapter contextualises Utopia in the original Renaissance context by providing its early publication history (Latin and English) and by analysing the modes of narrative - fiction and dialogue - in which More's self-fashioning is manifest and where his hypothetical heterocosm is materialised. All this substantiates how fiction, dialogue, and paratexts are integral to the shaping of Utopia, without which a holistic reading is not feasible. The second chapter examines the introduction of the concept of...

This thesis deals with the translations of Czech prose published in the 1970s and 1980s by Volk und Welt, the second largest publishing house in the German Democratic Republic (GDR). Using the publisher's and other paratexts, the empirical research aims to reconstruct the image of Czech literature that Volk und Welt helped to create. The issue under scrutiny draws methodological as well as theoretical inspiration from Anton Popovič, the Slovak translation scholar who inter alia postulated a theory of metatexts, André Lefevere and the Manipulation School, as well as Gérard Genette, who came up with a theory of paratexts. The publishing activities of Volk und Welt are painted against a broad political and cultural background. By analysing the publisher's reviews, required for the books to be approved for circulation in the GDR, as well as by dissecting other paratexts, the author uncovers strategies whereby the selected books of Czech literature found their way both to the reviewers and the general public.

碩士
國立高雄第一科技大學
應用英語系口筆譯碩士班
101
This study aims to investigate the differences in the types and functions of paratexts among the four Chinese translations of Henry David Thoreau’s (1817-1862) Walden, which were published in 1949, 1967, 1999 and 2002 respectively. The researcher emphasized three types of paratexts, such as the preface, visual aids, and notes, and discussed the changes of paratexts in the translated literature over the past several decades in Taiwan. 1970 is set up as the dividing year to categorize the collected translations into two groups—the pre-1970 and post-1970 groups. After 1970, Taiwan’s publishing industry was released from media censorship and changed its way of operation under the push of the fierce competition. An investigation of the paratextual information in the prefaces lead to the results that the pre-1970 versions were source-oriented, and the post-1970 versions were target-oriented. Viewed from the perspective of Gutt’s (2001) relevance theory, the target-oriented information in the post-1970 versions provided stronger communicative clues, thus creating the greater contextual effect and reducing the target readers’ unnecessary processing efforts. In contrast, the source-oriented information in the pre-1970 version overlooked the target readers’ real needs and could not provide them with a useful guidance for reading. The findings in relation to the use of visual aids showed that the pre-1970 versions did not have any photos or illustrations inserted beside the main text, but the post-1970 versions used many photos and illustrations to visualize the textual narration. Visual aids, according to Gutt’s relevance theory, are communicative clues and can help the target readers to get a general picture about the textual content. Textual and visual information combined together help create the contextual effect to optimize the readers’ understanding. Moreover, a shift in the focused informational types in the notes from 1949 to 2002 is supported by Vermeer’s (1978) skopos theory. More notes of quotation sources and the translator’s own comments in the post-1970 versions fulfilled the purpose of aesthetic appreciation and education. In contrast, the use of more notes of cultural references in the pre-1970 versions aimed to import the western culture. In this respect, the choice of different types of paratexts in the translations before and after 1970 accords with Vermeer’s skopos theory that each translation is assigned a specific purpose and a successful translation must achieve the purpose.

Alexandre von Humboldt (1769-1859), dernier savant universel, membre de l’Académie des sciences française et président de la Société de géographie de Paris, est reconnu dans le monde scientifique pour son exploration du continent américain qu’il a amplement décrit dans ses écrits en français et en allemand. Dans ce travail, nous étudions les traductions en espagnol et en anglais de l’ouvrage le plus notoire d’Alexandre von Humboldt, Relation historique du Voyage aux régions équinoxiales du Nouveau Continent, (1799-1804). Dans une optique descriptive (Toury, 1995), nous menons une étude socio-culturelle (Lépinette, 1997) des traductions en espagnol et en anglais de la Relation historique. La méthodologie employée est celle développée par D’hulst (2001 et 2014). Dans cette méthode, il propose de répondre, entre autres, aux questions pourquoi, quand, qui, où, quoi traduit-on. Pour ce faire, nous nous penchons sur les paratextes (Genette, 1987) qui accompagnent tant l’original que les traductions. Notre étude a révélé qu’aucune des traductions en espagnol intègrent complètement le contenu de l’original et que les parties sélectionnées l’ont été pour des questions identitaires.
Alexandre von Humboldt (1769-1859), last universal scientist, member of the Académie des sciences française and president of the Société de géographie de Paris, was a scientist recognized worldwide for the exploration of the American continent and for the written records he produced, in French and German, about his journey. The corpus we used for this study was the abundant existing peritext and epitext (Genette, 1987) of Humboldt’s travel writings. We analyzed the Spanish and English translations of von Humboldt’s most famous book, Relation historique du Voyage aux régions équinoxiales du Nouveau Continent (1799-1804). Working within a descriptive framework (Toury, 1995), we conducted a sociocultural study (Lépinette, 1997) of the Spanish and English translations of the Relation historique. Lieven D’hulst’s (2001 and 2014) methodology aims at answering the questions what, when, where, who or why do we translate. We concentrated mainly on the analysis of the paratext (Genette, 1987) that comes with the original and the translations to answer the questions proposed by D’hulst. Our study revealed that there is no complete translation of the text in Spanish and that the selection of the sections that appear in translations are motivated by identity questions.

Le Popol Vuh, récit historique du peuple maya quiché, a été traduit des dizaines de fois. Jusqu’au milieu du 20e siècle, bon nombre de ces traductions se fondaient sur la version réalisée en 1861 par Brasseur de Bourbourg, un missionnaire français. Pour souligner le travail du traducteur, nous avons étudié sa traduction non pas d’un point de vue comparatif des deux textes, mais du point de vue du paratexte, c’est-à-dire ce qui entoure le texte (page de titre, préface, notes, illustrations, etc.). Pour ce faire, nous avons dressé le cadre théorique du paratexte à l’appui des écrits de Genette et de Lane, puis nous l’avons appliqué à celui de la traduction du Popol Vuh de Brasseur de Bourbourg. D’une taille colossale, ce paratexte nous renseigne sur ce qui a motivé le travail du traducteur et sur ce qu’il a fait. L’étude de son avant-propos nous indique clairement que son but est de faire connaître la culture des Amériques sous un jour nouveau, et le Popol Vuh est pour lui l’exemple parfait d’une richesse littéraire, historique et culturelle jusque-là largement ignorée. Cette partie du paratexte de Brasseur de Bourbourg nous prépare à la lecture, alors que les nombreuses notes de bas de page nous guident pendant celle-ci. Force est toutefois d’admettre que le paratexte de cet ouvrage est si imposant qu’il porte ombrage à la traduction. Bref, l’étude du paratexte nous amène à aborder la traduction de Brasseur de Bourbourg d’un oeil critique, en fonction de ce que nous dit le paratexte. La lecture du paratexte et la connaissance de ses tenants et aboutissants devraient donc faire d’un simple lecteur un véritable lecteur averti, qu’il s’agisse d’une traduction ou de tout autre texte.
The Popol Vuh is a historical tale of the Maya Quiché people which has been translated many times. Until the mid 20th century, many of those translations were based on Brasseur de Bourbourg’s version published in 1861. In order to situate the translator’s work, we approached his translation from the perspective of paratext, i.e. what ccompanies the text (title page, preface, footnotes, illustrations, etc.), rather than comparing the source text to the translation. In order to do so, we have established the paratext’s theoretical framework, based on the works published by Genette and Lane, and we have applied it to Brasseur de Bourbourg’s translation of the Popol Vuh. Brasseur de Bourbourg’s paratext is colossal; it allows us to understand what motivated his work and what he has done. The study of the translator’s preface clearly demonstrates that his goal was to present the culture of the Americas from a different standpoint, and the Popol Vuh is, for him, the perfect example of a rich literary, historical and cultural heritage that has long been overlooked. The preface to the translation prepares the reader to read the text, whereas the many footnotes guide him when he’s reading the translation. Nevertheless, the amount of paratext is so imposing that it overshadows the actual translation. In short, paratext analysis allows us to look critically and advisedly at Brasseur de Bourbourg’s translation, with a good knowledge of what paratext actually tells us. Therefore, reading the paratext and being aware of its meaning should transform a simple reader into a well-informed and critical reader, whether it is a translation or any other kind of document.

The objective of this paper is to create a corpus of translations of Czech literature published in the form of book in Mexico until 2019 included and to describe how they were received. The aim of the paper is to answer questions about which Czech literature was published in Mexico, when and where it was translated, and who originated the translations. The theoretical part of the paper presents Czech-Mexican relations as they evolved in the sociocultural polysystem of the 20th century. The paper further uses the theoretical framework of the praxeology of translation and the translator's role, it explains the phenomenon of direct and indirect translation, it discusses the importance of paratexts for the study of translations, it explains the specificity of producing translations for the Spanish-speaking countries as well as it outlines the issue of translating from small cultures. Historiographical research, paratextual discourse analysis and oral history were used as the methodological core of this paper. Using these methods, the paper presents a corpus of 39 translated Czech literary works published in Mexico, including "imported" translations and re-editions, supplying comprehensive details on every one of them. At the end, the paper updates the corpus of Mexican literature translated into Czech...

Dissertação de Mestrado, Tradução e Assessoria Linguística, 16 de junho de 2017, Universidade dos Açores.
A presente dissertação pretende entender que funções desempenham as notas do tradutor na compreensão da obra traduzida. Para tal propósito, analisamos as notas do tradutor disponibilizadas no COMPARA, um corpus eletrónico paralelo, que alinha excertos de textos literários – do texto de partida e do respetivo texto de chegada – em língua inglesa e portuguesa. Também constitui nosso objetivo perceber que tipo de referências existentes nas obras originais mais contribuem para a elaboração deste tipo de paratexto, assim como as estratégias aplicadas pelo tradutor na sua execução.
ABSTRACT: This thesis intends to understand which functions translator’s notes perform in the comprehension of translated texts. For that purpose, we analyzed translator’s notes available in COMPARA, an on-line parallel corpus that aligns literary texts excerpts - from source text and the respective target text – both in English and Portuguese. It is also our objective to understand which referents existing in original texts contribute the most for the elaboration of this kind of paratext as well as the strategies applied by the translators in its execution.

Text has abstracts in English, Afrikaans and isiZulu
Translators give us access to texts written in other languages, yet they remain mostly invisible to us. The translator’s preface therefore becomes the most important paratext where their voices are heard and where the text is identified as a translation. Research on South African paratexts is scarce and the study contributes to filling this gap. The aim of this study was to explore the nature of South African translatorial prefaces by determining the characteristics, content and functions of the prefaces and describing how translators are visible in their prefaces. A qualitative study was done where Genette’s (1997) conceptual framework was fitted into the overarching theory of Descriptive Translation Studies, making use of thematic analysis as described by Braun and Clarke (2013) to analyse the data. The data consisted of 65 South African literary texts with translatorial prefaces, published between 1945 and 2016 in the official South African languages. The study found that South African translators are mostly invisible through the absence of translatorial prefaces, but when they do write prefaces, they become highly visible and write about a wide variety of topics that make their prefaces a rich documentary source of valuable information for readers, translation studies students and scholars. The study provides a foundation for further research on South African translatorial prefaces. Translatorial prefaces should be included in the curricula for Translation Studies students and in a multilingual country like South Africa, no translation should be without a preface. Translators are encouraged to write comprehensive prefaces that will increase their visibility and situate translations in the polysystem of South African literature.
Vertalers gee ons toegang tot tekste wat in ander tale geskryf is, maar tog bly hulle meestal onsigbaar vir ons. Die vertalersvoorwoord word dus die belangrikste teks waar hul stemme gehoor kan word en waar die teks as ’n vertaling geïdentifiseer kan word. Navorsing oor Suid-Afrikaanse parateks is skaars en die studie dra daartoe by om hierdie leemte te vul. Die doel van die studie was om die aard van Suid-Afrikaanse vertalersvoorwoorde te ondersoek deur die kenmerke, inhoud en funksies van die voorwoorde te bepaal en te beskryf hoe vertalers sigbaar is in hulle voorwoorde. ’n Kwalitatiewe studie is gedoen waar die konseptuele raamwerk van Genette (1997) in die oorkoepelende teorie van Beskrywende Vertaalstudies toegepas is, met behulp van tematiese analise soos beskryf deur Braun en Clarke (2013) om die data te ontleed. Die data bestaan uit 65 Suid-Afrikaanse letterkundige tekste met vertalersvoorwoorde, wat tussen 1945 en 2016 in die amptelike Suid-Afrikaanse landstale gepubliseer is. Die studie het bevind dat Suid-Afrikaanse vertalers hoofsaaklik onsigbaar is deur die afwesigheid van vertalersvoorwoorde, maar wanneer hulle wel voorwoorde skryf, word hulle hoogs sigbaar en skryf hulle oor ’n wye verskeidenheid van onderwerpe wat hul voorwoorde ’n ryk dokumentêre bron van inligting vir lesers, studente in vertaalstudies en vakkundiges maak. Die studie bied ’n basis vir verdere navorsing oor Suid-Afrikaanse vertalersvoorwoorde. Vertalersvoorwoorde behoort opgeneem te word in die kurrikula van vertaalstudie studente en in ’n veeltalige land soos Suid-Afrika behoort geen vertaling sonder ’n vertalersvoorwoord te wees nie. Vertalers word aangemoedig om omvattende voorwoorde te skryf wat hul sigbaarheid sal verbeter en hul vertalings in die polisisteem van Suid-Afrikaanse letterkunde sal plaas.
Abaguquli beelwimi basenza sikwazi ukufikelela kwiimbalo ezifumaneka ngezinye iilwimi, kodwa bahlala befihlakele kuthi. Iimbulambethe zabaguli zilwimi ngoko ke ziba yingcaciso ebaluleke kakhulu ethi ibaveze ivakalise amazwi abo, kwaye yenza iimbalo ezo zibe nokuphawulwa okanye zichazwe njengeenguqulelo. Uphando malunga neembulambethe okanye iingabulazigcawu eMzantsi Afrika lunqabile kungoko olu phando lunegalelo ekuvaleni esi sikhewu. Injongo yolu phando kukuphonononga ubume beembulambethe zeenguqulelo ezifumaneka eMzantsi Afrika ngokufumanisa iimpawu zazo, umxholo kunye nemisebenzi yeembulambethe, kwakunye nokuchaza indlela abazibonakalisa ngayo abaguquli kwiimbulambethe zabo. Kwenziwe uphando lohlobo oluchazayo (qualitative), apho kuysetyenziswe inkqubosikhokelo yengqiqo kaGenette (1997) ndawonye nethiyori esisikhokelo yeziFundo zoGuqulo loLwimi eziChazayo (Descriptive Translation Studies), nolusebenzisa uhlahlelo lwethematiki njengoko luchaziwe nguBraun noClarke (2013) ekuhlalutyeni idatha. Idatha iqulathe iimbalo zoncwadi ezingama-65 zaseMzantsi Afrika ezineembulambethe zeenguqulelo ezapapashwa phakathi konyaka ka-1945 no-2016 ngeelwimi ezisemthethweni eMzantsi Afrika. Olu phando lufumanise ukuba abaguquli beelwimi ikakhulu, ababonakali ngenxa yokungabikho kweembulambethe zezi nguqulelo, kodwa xa bathe bazibhala iimbulambethe, bayabonakala kakhulu kunjalonje batsho babhale ngenqwaba yezihloko ezahlukeneyo nezenza iimbulambethe zabo zibe ngamaxwebhu angoovimba abaqulethe ubutyebi bolwazi olubalulekileyo kubafundi zincwadi, abafundi bezifundo zoguqulo kunye nezifundiswa. Olu phando lwakha isiseko solunye uphando olunokwenziwa ngeembulambethe zeenguqulelo zaseMzantsi Afrika. Ngolu phando kuhlatyw’ ikhwelo lokuba iimbulambethe zeenguqulelo zibe yinxalenye yekharityhulam yabafundi beziFundo zoGuqulo kananjalo, kwilizwe elineelwimi ngeelwimi njengoMzantsi Afrika, makungabikho nguqulelo ingenambulambethe. Abaguquli bayakhuthazwa ukuba babhale iimbulambethe ezityebileyo eziya kubatyhila ngakumbi babonakale kubafundi neziya kubeka iinguqulelo kwisixokelelwano soluhlu loncwadi lwaseMzantsi Afrika.
Linguistics and Modern Languages
M.A. (Linguistics)

Submitted to the Faculty of Humanities in partial fulfillment of the requirements for the degree of M.A (Publishing Studies) University of the Witwatersrand, South Africa, 2017
Gérard Genette famously noted that paratexts are ‘those liminal devices’, elements, both within and outside the book, that form part of the complex relationship between book, author, publisher, and reader. He determined that titles, forewords, epigraphs, and publishers’ jacket copy are part of a book’s ‘private and public history’. By considering each of these liminal devices in the larger context of marketing strategies, this research report addresses the question of how paratexts are altered to appeal to different markets in different countries – specifically South Africa and Germany – and how this is done in relation to five translated novels: Stadt des Goldes by Norman Ohler; Portrait with Keys by Ivan Vladislavić; Township Blues and Themba by Lutz van Dijk; and Fiela se Kind by Dalene Matthee. The research report argues that the relationship between paratext and reader is of vital importance when it comes to understanding how cultures are perceived by foreign readers. With each comparison between the paratexts of the original and their translated novels, the research report demonstrates that paratextual alterations are predominantly influenced by alterations in time and geography; use or dismissal of clichés and stereotypes; educational value; and either techniques which familiarise or defamiliarise the reader. By uncovering the way novels are marketed to a foreign readership, it becomes possible to uncover why translations occur and how the source-culture is perceived.
XL2018

Cette thèse propose l’émergence d’une poésie de l’entre deux dans la littérature expérimentale, en suivant ses développements du milieu du vingtième siècle jusqu'au début du vingt-et-unième. Cette notion d’entre-deux poétique se fonde sur une théorie du neutre (Barthes, Blanchot) comme ce qui se situe au delà ou entre l'opposition et la médiation. Le premier chapitre retrace le concept de monotonie dans la théorie esthétique depuis la période romantique où il est vu comme l'antithèse de la variabilité ou tension poétique, jusqu’à l’émergence de l’art conceptuel au vingtième siècle où il se déploie sans interruption. Ce chapitre examine alors la relation de la monotonie à la mélancolie à travers l’analyse de « The Anatomy of Monotony », poème de Wallace Stevens tiré du recueil Harmonium et l’œuvre poétique alphabet de Inger Christensen. Le deuxième chapitre aborde la réalisation d’une poésie de l’entre-deux à travers une analyse de quatre œuvres poétiques qui revisitent l’usage de l’index du livre paratextuel: l’index au long poème “A” de Louis Zukofsky, « Index to Shelley's Death » d’Alan Halsey qui apparait à la fin de l’oeuvre The Text of Shelley's Death, Cinema of the Present de Lisa Robertson, et l’oeuvre multimédia Via de Carolyn Bergvall. Le troisième chapitre retrace la politique de neutralité dans la théorie de la traduction. Face à la logique oppositionnelle de l’original contre la traduction, il propose hypothétiquement la réalisation d’une troisième texte ou « l’entre-deux », qui sert aussi à perturber les récits familiers de l’appropriation, l’absorption et l’assimilation qui effacent la différence du sujet de l’écrit. Il examine l’oeuvre hybride Secession with Insecession de Chus Pato et Erin Moure comme un exemple de poésie de l’entre-deux. A la fois pour Maurice Blanchot et Roland Barthes, le neutre représente un troisième terme potentiel qui défie le paradigme de la pensée oppositionnelle. Pour Blanchot, le neutre est la différence amenée au point de l’indifférence et de l’opacité de la transparence tandis que le désire de Barthes pour le neutre est une utopie lyrique qui se situe au-delà des contraintes de but et de marquage. La conclusion examine comment le neutre correspond au conditions de liberté gouvernant le principe de créativité de la poésie comme l’acte de faire sans intention ni raison.
This dissertation proposes the emergence of a poetry of the threshold in experimental literature, tracing its development from the mid-twentieth century to the early twenty-first century. The notion of threshold poetry is premised on a theory of the neutral (Barthes, Blanchot) as that which is located beyond or between opposition or mediates. Chapter One retraces the concept of monotony in aesthetic theory, from the Romantic period, where it figures as the antithesis to changefulness or poetic tension, to the emergence of conceptual art in the twentieth century. Chapter One further examines the relationship of monotony to melancholy through an analysis of “The Anatomy of Monotony” by Wallace Stevens and alphabet by Inger Christensen. Chapter Two proposes a ‘poetry of the threshold’ through an analysis of four works of experimental, paratextually structured works of poetry: Louis Zukofsky’s index to “A”; Alan Halsey’s “Index to Shelley’s Death,” which comes after The Text of Shelley’s Death; Lisa Robertson’s Cinema of the Present; and Carolyn Bergvall’s multimedia work Via. Chapter Three retraces the politics of neutrality in translation theory. Against the oppositional logic of original versus translation, it hypothetically proposes the realization of a ‘third’ or threshold text, which also serves to disrupt the familiar narratives of appropriation, absorption and assimilation that efface the difference of the writing subject. It examines the hybrid work Secession with Insecession by Chus Pato and Erin Moure as an example of threshold poetry. For both Maurice Blanchot and Roland Barthes, the neutral represents a potential third term that baffles the paradigm of oppositional thought. For Blanchot, the neutral is difference taken to the point of indifference and the opacity of transparency while Barthes’ desire for the neutral is for a lyrical utopia that is located beyond the constraints of purpose and marketability. The conclusion examines how the neutral corresponds to the conditions of freedom governing the creative principle of poiesis as the act of making without intention or purpose.