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Arnold, Jennifer Louise. "Translating national identity : the translation and reception of Catalan literature into English." Thesis, University of Birmingham, 2017. http://etheses.bham.ac.uk//id/eprint/7889/.
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This thesis examines reader responses to Catalan identity through the reception of two Catalan novels in translation: Stone in a Landslide by Maria Barbal and For a Sack of Bones by Lluís- Anton Baulenas. Drawing on theories from Descriptive Translation Studies and cultural and sociological approaches to translation, it examines how representations of Catalan culture and identity are subject to influence from different agents at each stage of the translation and reception process. The thesis explores three areas: the role of translation within Catalan culture in the promotion of Catalan identity; the way in which this role is relevant to the translation process itself within the target culture; and finally whether the objectives of this role are achieved within the target market. This study offers a new approach to the study of the reader within Translation Studies, using blogs, online reviews and reading groups in order to gain access to real reader responses to translated literature and offers a methodology by which the study of the representation of culture through translation may be explored. The results of this study have relevance not only to translation research and practice, but also to translation policy, particularly for minority cultures.
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YANG, Yichen. "Performability and translation : a case study of the production and reception of Ying Ruocheng’s translations." Digital Commons @ Lingnan University, 2016. https://commons.ln.edu.hk/tran_etd/17.
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The active scholarly contribution made by practitioners of theatre translation in the past decades has turned the research area into what is now considered a burgeoning field. Despite recent developments, it seems that performability, a long-discussed yet controversial concept in the study of theatre translation, would remain part of the practitioners’ discourse. Based on a historical survey of the production and reception of the translations of Anglo-American plays by Chinese actor-director Ying Ruocheng (1929-2003) in and around the 1980s, this study explores how the performability, or theatrical potential, of a translated playtext is constructed through the negotiation between/among the norms mainly operating on three levels—the textual, the theatrical and the socio-cultural—and the agency of the individuals involved.
This thesis chooses to focus on Ying because he not only was one of the most successful theatre translators in contemporary Mainland China, but also seems to be an “impossible” ideal, considering his accomplishments in translating, acting, directing and as culture diplomat. Acknowledging that performability, which is essentially fluid and constructed, this descriptive-analytical survey will cover a whole range of possible activities involved in the production and reception of a translated playtext, and put the translator’s seemingly ideal status into perspective. The broadening of the scope of investigation is crucial to the outcome of this thesis, and recommendable to future researchers of theatre translation studies.
In this study, translated playtexts and their stage productions are treated as the products of the receiving linguistic, theatrical and socio-cultural systems. The investigation begins with an evaluation of Ying’s practice against his stated translation principles to identify the textual and extra-textual factors that might have governed his work as a translator in reality. The discussion emphasises that performability cannot be realised through the textual medium only, before moving on to the exploration of the performers’ attempts to negotiate with his texts for theatrical enactment. The investigation, which examines the actions taken by the theatrical institution and individual actors in two separate chapters, draws attention to the roles of the translational, theatrical and socio-cultural norms and the power dynamics between the translator and his theatrical collaborators in their efforts to ‘ensure’ or create performability. The discussion is followed by an analysis concentrating on Ying’s role as a mediator within the production process and between the productions and the target environment, which is crucial to the achievement of both the immediate success of the productions and the transfer of repertoire. The study concludes that while a theatre translator and his or her theatrical collaborators are subject to various systemic constraints, the translator can find more power in his or her mediatory role as a bilingualist and biculturalist and promote the performability of the text.
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November, Kate. "Translation and national identity : the use and reception of Mauritian Creole translations of Shakespeare and Molière." Thesis, University of Edinburgh, 2010. http://hdl.handle.net/1842/5826.
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The purpose of this thesis is to find out whether theatre translation into Mauritian Creole can contribute to the formation of a national identity in post-colonial, multi-ethnic and multilingual Mauritius. There are currently fourteen languages spoken, many of which, as carriers of symbolic value, are often used as markers of ethnic identity. Moreover, the fact that they do not all carry the same socio-economic and political status has created a linguistic hierarchy which positions English at the top, closely followed by French, in turn followed by Asian languages and finally by Mauritian Creole, even though the latter is the most widely spoken language on the island. I argue that translation into Mauritian Creole is largely an ideological endeavour, designed to challenge the existing asymmetrical linguistic power relations, and to highlight the language’s existence as a shared cultural capital and as a potential force for national unity. I show how such an endeavour is closely linked to the political and socio-cultural aspects of the target society. This is done by using complementary theoretical perspectives, such as Itamar Even-Zohar’s polysystem theory (1979, 2000), André Lefevere’s systemic concept (2004) and post-colonial approaches to translation, and by drawing upon the case study research method, with its emphasis on multiple sources for data collection. The thesis examines Mauritian Creole translations of six plays by Shakespeare and two by Molière. I suggest that the reasons for choosing Shakespeare and Molière for translation are highly symbolic in the Mauritian context, where the educational system, a British colonial legacy, has continued to assign a privileged position to canonized British and French literatures; a system which contributes towards the perpetuation of colonial values. The translation of canonized texts is therefore intended to highlight the persistence of hegemonic socio-cultural values. Equally, it is designed to promote cultural decolonization and to point to the emergence of new creolized practices that offer areas of shared meaning for the Mauritian population as a whole. I also argue that since translation is an ideological undertaking, it is essential to understand the purposes of those actively involved in its production and dissemination. Because theatre texts can function as literary artefacts and as performance scripts, I look at the role played not only by translators and publishers, but also by theatre practitioners (producers, directors and actors). I explain their beliefs and their political agendas, showing why neither translation, nor stage production can constitute a neutral activity. In the process, my examination reveals the opposing forces at work which disagree over the way Mauritian Creole should be used in the discourse of nation-building. I then look at the intended target audiences with a view to finding out if the translations and the stage productions have had any obvious impact upon Mauritian society. My findings show that neither readers nor spectators are likely to have represented a large proportion of the population. Although this seems to indicate that theatre translation has had little direct impact so far upon the construction of a national identity, I suggest that in fact, its contribution to the Mauritian Creole literary and cultural capital should not be underestimated, as the language is very slowly emerging as an important symbol of the island. I conclude that should theatre translation be combined with other societal efforts in the future, it could still have a part to play in the formation of a national identity based upon Mauritian Creole.
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Jin, Guanglan. "East meets West : Chinese reception and translation of Virginia Woolf /." View online ; access limited to URI, 2009. http://0-digitalcommons.uri.edu.helin.uri.edu/dissertations/AAI3367993.
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Francis, Richard Alan. "Translation as transformation : models and analogues for wider practice and reception /." Thesis, Connect to this title online; UW restricted, 1993. http://hdl.handle.net/1773/6685.
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Parra-Olmedo, Mar. "The audiovisual translation and audience reception of satire : 'Extras', a case study." Thesis, University of Strathclyde, 2017. http://digitool.lib.strath.ac.uk:80/R/?func=dbin-jump-full&object_id=29465.
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In recent years, the number of studies of the audiovisual translation (AVT) of humour and its audience reception have increased (e.g. Fuentes Luque, 2000; Chiaro, 2004, 2007; Schauffler, 2012 etc.). However, no previous studies of the audience reception of AVT have looked at specific types of humour such as satire. A more detailed look into the textual and discoursal properties of satire (Simpson, 2003) reveal that satire is significantly different from other types of humorous discourses and thus, its translation should be studied separately in order to gain insight into the translation issues that might be specific to this type of discourse. Moreover, Mason (2009: 55) notes that enquiries into reader response would be useful for translation studies. Audience reception experiments should aim at seeking evidence of inferences drawn by actual users of a text and its translation as a means to support and correct the analyst’s findings. In light of these observations, this study investigates the audiovisual translation and audience reception of satirical discourse. In order to fulfil this aim, and as a case study, the British television programme (Extras, 2005, BBC Two) and its dubbed version in Spanish for Spain are analysed in the light of Simpson’s (2003) model of satirical discourse. This comparative analysis is followed by an audience reception test which has been carried out in order to elicit responses from British and Spanish participants regarding their interpretations of both source and target texts. The results of the study show that recurrent aspects of satirical discourse such as culture-specific items, intertextuality and taboo topics etc. often prevent the successful ‘uptake’ of satirical discourse amongst the target viewers. The study also proves that the use of audience response tests is useful in order to elicit viewers’ responses to elements of satirical discourse and their translations.
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Bampi, Massimiliano. "The reception of the Septem Sapientes in medieval Sweden between translation and rewriting." Göppingen Kümmerle, 2008. http://d-nb.info/987441027/04.
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Bloch, David. "Aristotle on memory and recollection : text, translation, interpretation, and reception in Western scholasticism /." Leiden : Brill, 2007. http://catalogue.bnf.fr/ark:/12148/cb41031433j.
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Texte remanié de: Doctoral dissertation--Faculty of humanities--University of Copenhagen, 2006.<br>Contient une éd. du texte grec de De la mémoire et de la réminiscence avec trad. anglaise en regard. Bibliogr. p. 245-254.
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Fisher, Lina. "Gender and style in the translation and reception of Ingeborg Bachmann's 'Todesarten' texts." Thesis, University of East Anglia, 2014. https://ueaeprints.uea.ac.uk/58554/.
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This thesis compares style in the ‘Todesarten’ [literally: manners of death] texts by Austrian author Ingeborg Bachmann (1926-1973) with their English translations: the novel Malina (Malina; Philip Boehm), the novel draft Das Buch Franza (The Book of Franza; Peter Filkins) and the story collection Simultan (Three Paths to the Lake; Mary Fran Gilbert). The fact that Bachmann was a woman significantly influenced the descriptions by German-language critics in the 1950s, ‘60s and ‘70s of the author herself, as well as their evaluations of her work. Bachmann’s extended metaphors, ambiguity, iconicity, transitivity structures and intertextuality suggest that her prose texts, and especially Malina, should be regarded as proto-feminist masterpieces whose contemplation of the post-war human condition and society’s treatment of women were far ahead of their contemporaries. Boehm’s and Filkins’ translation choices show parallels with criticism expressed in German-language reviews. The reduction of the networks of stylistic features in the translations results in a weakening of the links between content, style and politics which are crucial to Bachmann’s texts. These changes mean that the English-language reader experiences Bachmann’s texts in a fundamentally different way. The male translators largely silence what I term women’s language in Malina and Franza, and consequently conceal much of Bachmann’s proto-feminist message. It is clear that these changes are not necessitated by the constraints of translating Bachmann’s complex texts into English because Gilbert, the female translator of Simultan, manages to recreate the texts’ style.
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Burczynska, Paulina. "Investigating the multimodal construal and reception of irony in film translation : an experimental approach." Thesis, University of Manchester, 2018. https://www.research.manchester.ac.uk/portal/en/theses/investigating-the-multimodal-construal-and-reception-of-irony-in-film-translationaa-an-experimental-approach(a6c4afa5-02f8-4b74-8895-4c8cc161b5ab).html.
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In the light of recent changes on the audiovisual scene in Poland, audiences can choose among different AVT modalities. Although voice-over still prevails on Polish TV, subtitles have become more and more popular as an alternative form of film translation on television. Due to rapid technological advances, commercial requirements and differences in Polish viewersâ preferences, it is thus crucial to understand how audiences at different levels of English proficiency (low, medium, high) retrieve meaning, especially complex ironic meaning relayed through different methods of film translation, such as subtitles and voice-over and the extent to which verbal and non-verbal semiotic channels contribute to irony comprehension. Wilson and SperberâÂÂs (1981, 1992; 1995) echoic theory of irony has been selected as the theoretical framework, given its ability to account for multimodal irony in audiovisual texts as well as the significant importance of non-verbal semiotic resources in the generation and interpretation of irony. The study employs triangulation, incorporating descriptive, experimental and interactionist components. The descriptive component involves multimodal transcription (Baldry and Thibault, 2006) of selected fragments in which irony plays a pivotal narrative role. This procedure aims to determine what non-verbal modes contribute to the multimodal construal of irony and how it is relayed in the subtitled and voiced-over translations. In the experimental component, viewersâ eye movements are recorded using eye-tracking technology while watching subtitled and voiced-over fragments of Sherlock Holmes (2009) and Sherlock Holmes: A Game of Shadows (2011). In the interactionist components, a questionnaire is used in order to elucidate how and/or whether they retrieve ironic meaning as intended by the filmmakers in the selected excerpts. The most obvious finding to emerge from the descriptive data analysis is that multimodal irony is not relayed by the film dialogue alone but, rather, in unison with non-verbal semiotic resources. The instances of multimodal irony in the two Sherlock Holmes films were found to perform narrative and comedic functions by combining the visual, kinesic and acoustic modes of film language. The analysis and comparison of SL dialogues and TL translations revealed two broad categories of irony relay, namely: preservation and modification. The majority of the instances of multimodal irony were modified in the subtitled version, while preservation is only sporadically opted for. In its voiced-over counterpart, the intended meaning is preserved and modified in equal proportions. The experimental component showed major differences in gaze patterns among the participants with different language skills in the subtitled clips. For instance, on average, LLPs spent more time reading the subtitles than HLPs or MLPs. Similar visual behavior, on the other hand, was observed among all viewers in the voiced-over clips in which the on-screen characterâÂÂs face attracted the greatest amount of visual attention. The interactionist strand showed that the viewers retrieved the intended meaning to various extents depending on their English language proficiency. This data undergirds an assessment of the effectiveness of subtitles and voice-over in the translation and reception of multimodal irony on screen.
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Issa, Islam. "Transforming Paradise Lost : translation and reception of John Milton's writing in the Arab-Muslim world." Thesis, University of Birmingham, 2014. http://etheses.bham.ac.uk//id/eprint/4907/.
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This thesis is the first full-length study of the reception of John Milton’s writings in the Arab-Muslim world. It examines the responses of contemporary Arab-Muslim readers to Milton’s works, and in particular, to his epic poem: Paradise Lost. It contributes to knowledge of the history, development, and ways in which Milton’s writings are read and understood by Muslims, mapping the literary and more broadly cultural consequences of the censure, translation and abridgement of Milton’s works in the Arab-Muslim world. This study examines and compares cultural, theological, linguistic and translational issues, and draws upon primary empirical data from fieldwork carried out at Egyptian universities, libraries and publishers. It finds that Milton occupies a surprisingly significant place in the intellectual life of the Middle East. It also finds that the Arab-Muslim reception of Paradise Lost is coloured by the prevailing socio-political climate, the overarching religious culture of readers, and semantic shifts between Milton’s original English text and Mohamed Enani’s Arabic translation. Overall, the thesis breaks new ground in presenting a rich and multi-faceted picture of the potential attitudes and responses of twenty-first-century Arab-Muslims to the writings of Milton, epitomised by an unexpectedly reciprocal relationship between Paradise Lost and its Muslim reader.
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Alblooshi, Fatima Khalifa. "The Role of Paratextual Elements in the Reception of Translation of Arabic Novels into English." Kent State University / OhioLINK, 2021. http://rave.ohiolink.edu/etdc/view?acc_num=kent1617719565200925.
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Liao, Chia-hui. "A critical study of the reception and translation of the poetry of Wang Wei in English." Thesis, University of Warwick, 2011. http://wrap.warwick.ac.uk/35738/.
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This thesis explores how Wang Wei 王維(701-761), a Chinese Tang-dynasty poet, was received and represented through the twentieth century in the Anglophone world and what images of him different translators have created at different times for different readers in the receiving context. Wang Wei, like some of his contemporaries, notably Li Bo 李白(701-762) and Du Fu 杜甫 (712-770), is one of the most translated Chinese poets. The translation and reception of Wang Wei’s poetry have been dominated by emphasis on imagery, landscape, and Zen over the past one hundred years although his poetry also includes other themes. The hypothesis is that Wang Wei was more discussed for his contribution to Chinese landscape art at the beginning of the twentieth century, then began to be connected with Zen Buddhism around the mid-century. In the post-war period and beyond, his nature poetry associated with eco-spirituality has been widely explored. Starting with an introductory chapter, which explores critical debates about Wang Wei’s life and establishes a theoretical framework based on systemic approaches, this thesis will discuss the following elements chapter by chapter: classical Chinese poetry in English translation, Chinese imagery traditions and the development of Imagism, Wang Wei’s poetry about landscape and Zen, and difficulties of and patterns in translating Wang Wei. The concluding chapter will stress that the sustainability of Wang Wei’s poetry in English lies in its constant interactions with various literary, political, and social factors in the polysystem of the target culture. Thus, the translation of a foreign literary figure, like Wang Wei, goes beyond the linguistic and takes into account contextual relationships.
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Fitzpatrick, Mark. "R.L. Stevenson, Joseph Conrad and the adventure novel : reception, criticism and translation in France, 1880-1930." Thesis, Sorbonne Paris Cité, 2015. http://www.theses.fr/2015USPCA160.
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Le roman d’aventures anglais du dix-neuvième siècle, héritier d’une tradition issue des écrits de Defoe, de Scott, et de Dumas, trouvera ses chefs-d’œuvre dans L’île au trésor et Enlevé! de Robert Louis Stevenson. Ces textes représentent à la fois l’apogée du genre, et sa réécriture, sa subversion. Joseph Conrad, dans ses fictions aventureuses, répond à cette remise en question des conventions génériques. Les deux auteurs doivent se situer par rapport aux débats littéraires de leur époque, et à la prédominance du réalisme qui touchait à sa fin. En France, au tournant du vingtième siècle, les critiques littéraires cherchent une alternative dans la fiction étrangère au roman moribond qu’ils voient autour d’eux. Face à cette « crise du roman », Marcel Schwob trouvera, en Robert Louis Stevenson, l’auteur qui lui semble donner forme, dans ses œuvres, à un roman d’aventures qui dépasse les oppositions stériles qui alimentent le débat sur l’avenir du roman en France. Cette rencontre littéraire est le point de départ d’une réflexion qui se poursuit dans les années 1900 dans les revues littéraires, où les critiques menés par André Gide commencent à élaborer une théorie du roman d’aventures. Ce concept de l’aventure permet d’étudier la réception de l’œuvre de Stevenson, et de celle de Conrad, dans la culture littéraire spécifique de la France au début du vingtième siècle. Dans la correspondance, les revues telles que La Revue des Deux Mondes, Le Mercure de France, La Nouvelle Revue Française, les traductions, et les éditions françaises des deux écrivains, un phénomène littéraire se dessine, un transfert culturel entre les grands écrivains cosmopolites de la période<br>The English adventure novel of the nineteenth century, descending from a tradition shaped by the writings of Defoe, Scott, and Dumas, was to find its masterpieces in Tresaure Island and Kidnapped! by Robert Louis Stevenson. These texts represent both the high-point of the genre, and its rewriting and subversion. Joseph Conrad, in his adventurous fiction, responds to this problematizing of the conventions of the genre. Both authors had to situate themselves in relation to the literary debates of their era, and the soon-to-end dominance of realism. In France, at the turn of the twentieth century, literary critics were seeking an alternative in foreign fiction to the moribund novel that they had inherited. In the face of the this “crisis of the novel”, Marcel Schwob was to find, in Robert Louis Stevenson, the author who seemed to give form, in his fiction, to a novel of adventure which transcended the stale oppositions which had fed the debate on the future of the novel in France. This literary encounter is the starting point for a discussion which continued into the 1900s in the literary reviews, where critics led by André Gide begin to develop a theory of the roman d’aventures. This concept of adventure permits us to examine the reception of the works of Stevenson, and those of Conrad, in the literary culture specific to France at the beginning of the twentieth century. In writers’ correspondence, in literary reviews such as the Revue des Deux Mondes, the Mercure de France, or the Nouvelle Revue Française, in translations and French editions of the two authors, a literary phenomenon takes shape, a cultural transfer between the great cosmopolitan writers of the period
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Hemming, Haley S. "Lost in Translation: Social Determinants of Student Reception to the Transgender Community and Related Policy Support." Ohio University / OhioLINK, 2017. http://rave.ohiolink.edu/etdc/view?acc_num=ohiou1493899075093699.
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Schauffler, Svea F. "Investigating subtitling strategies for the translation of wordplay in Wallace and Gromit : an audience reception study." Thesis, University of Sheffield, 2012. http://etheses.whiterose.ac.uk/2915/.
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This thesis constitutes an experimental, receptor-oriented study which investigates the reception of two different strategies for subtitling English wordplay into German. Two translations of the animated short film Wallace and Gromit in A Matter of Loaf and Death are screened for test audiences, whose reaction is then recorded in a questionnaire. The existing translation, which was broadcast on German television and published on DVD, follows an approach based on formal equivalence and therefore rarely diverges from the original dialogue at word level, but equally sacrifices parts of the extensive humorous content inherent the text. This is contrasted by a specifically produced alternative translation which prioritises equivalence of effect, the transfer of linguistic humour at the cost of formal similarity. The research project also explores the influence of source language comprehension on the reception of both versions, as it is assumed that a formally different subtitle text could be interpreted as "incorrect" by members of the audience with knowledge of English. In light of the fact that English as a second language is spoken by a growing number of people in the German language community, the effect of this development on the viewers' requirements for audiovisual translation strategies and modes of linguistic transfer are considered relevant for the field. Furthermore, the reception of subtitling by a German audience is investigated in this context.
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van, Dyk Gerrit. "Translation as Katabasis and Nekyia in Seamus Heaney's "The Riverbank Field"." BYU ScholarsArchive, 2013. https://scholarsarchive.byu.edu/etd/3473.
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Translation has been at the heart of Seamus Heaney's career. In his poem, "The Riverbank Field," from his latest collection, Human Chain, Heaney engages in metatranslation, "Ask me to translate what Loeb gives as / 'In a retired vale...a sequestered grove' / And I'll confound the Lethe in Moyola." Curiously, with a broad spectrum of classical works at his disposal, the poet chooses a particular moment in Virgil's Aeneid as an image for translation. What is it about this conversation between Aeneas and his dead father, Anchises, at the banks of the Lethe which makes it uniquely fitting for Heaney to explore translation? In order to fully understand Heaney's decision to translate this scene from Aeneid 6, it must be clear how Heaney perceives the classical tropes of katabasis (descent into the underworld) and nekyia (communion with the dead). Due to the particularly violent and destructive history of the 20th century from the World Wars to the Holocaust, contemporary poets tend to portray katabasis and nekyia in their works as tragic (See Falconer's Hell in Contemporary Literature). Heaney subverts this view of a tragic descent and communion with the dead in his poetry, instead opting for a journey through Hell which is more optimistic and efficacious. Heaney's rejection of the contemporary tragic katabasis and nekyia allows these classical tropes to become a metaphor for translation. I argue Heaney demonstrates how he views translation and the role of the translator through this metatranslational instance in "The Riverbank Field." For Heaney, not only can a poet descend to the underworld where spirits of the literary dead wait for translation into a new medium, but the translator actually can succeed in bringing an ancient author to a modern readership.
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Alzahrani, Mohammed Omar. "THE READER'S TURN: THE PACKAGING AND RECEPTION OF CONTEMPORARY ARABIC LITERATURE IN ARABIC AND IN ENGLISH TRANSLATION." Kent State University / OhioLINK, 2020. http://rave.ohiolink.edu/etdc/view?acc_num=kent1606425465610702.
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Horri, Abbas. "The influence of translation on Shakespeare's reception in Iran : three Farsi Hamlets and suggestions for a fourth." Thesis, Middlesex University, 2003. http://eprints.mdx.ac.uk/6402/.
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The study consists of three parts. Part 1 defines the development of translation in Iran over almost fifteen centuries -from the reign of King Anowshiravan (53 1-79), who commissioned the first translation ever made from Sanskrit into Middle Persian (Pahlavi) to the year 2000. This part traces Iran's eventful history from the Arab invasion and the establishment of the Caliphate (642), through the Moghul takeover and the fall of the Caliphate (1258), to the founding of Dar al-fonoon (1852) and the rise of translation to significance, onto W.W. II and the state-wide replacement of French by English as the most important foreign language, resulting in a reinvigoration of translational activities, and finally to the Islamic Revolution (1979) and the end of the twentieth century. Part 2 looks into Shakespeare'sr eception in Iran. Given Shakespeare's profound influence in literary and theatrical activities across the world, the attention he has received in Iran is not commensurate with his high global standing. This part endeavours to find out the circumstances of this comparative neglect The linguistic, prosodic and cultural problems that typically an Iranian translator of Shakespeare may encounter are immense. The French and English in the nineteenth and twentieth centuries, never enjoyed anything other than the status of foreign languages, learnt or taught as auxiliaries. Therefore, bilingualism in whose lap scholarly proficiency can be born and bred, has never existed in modern Iran. Individual bilingual scholars who may have attained their proficiency through a painstaking pursuit of knowledge at home or abroad, have either been too few or too involved in other activities to make a strong impact on translation. Thus it might be that shortcomings in some of the translations of Shakespeare may be responsible for his reserved reception in Iran. The inclusion in Part 2 of a few glimpses of Shakespeare's global significance are felt to provide a useful contrast. Part 3 is the main course of the study. It examines Farzad and Behazin's translations both made for the page, as well as Rahimi's adaptation for the stage. Rahimi's Hamlet has been subjected to an appropriation aimed at making it culturally innocuous. It has one act and twenty-one scenes, with a lot of deletions and occasional additions. Each scene has been properly examined and the appropriations made for cultural considerations have been specified. The research concludes with brief remarks on the major findings of the study.
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De, Los Reyes Lozano Julio. "La traduction du cinéma pour les enfants : une étude sur la réception." Thesis, Reims, 2015. http://www.theses.fr/2015REIML014/document.
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L’objet d’étude de cette thèse de doctorat est la traduction audiovisuelle et concerne plus particulièrement la réception du doublage par le destinataire « spécial » du corpus analysé, l’enfant. Le sous-titre du travail –une étude sur la réception– révèle son caractère empirique et expérimental, dont l’objectif principal est d’analyser empiriquement la réaction du jeune public face à des solutions de traduction qui viennent régulièrement adoptées dans les doublages du cinéma d’animation. L’utilisation de certaines stratégies et techniques de traduction peuvent se rapprocher ou s’éloigner du récepteur : on cherchera à évaluer dans quelle mesure celles-ci facilitent leur compréhension, lui font rire ou pleurer et, finalement, lui amusent. Le succès d’un long-métrage pour enfants n’est aperçu aujourd’hui qu’à travers les entrées au box-office et les ventes des films sur le marché vidéo des DVD, Blu-Ray et VOD. Afin de combler ce manque, nous avons décidé de mener à bien une expérience auprès d’enfants auxquels nous avons projeté quelques extraits de long-métrages doublés en espagnol. Ils ont ensuite rempli un questionnaire apte à leur stade de développement cognitif, nous aidant à déterminer quelles informations les participants ont-ils acquises en regardant les films. On cherchera ainsi à mieux connaître la répercussion des choix de traduction les plus habituels chez les traducteurs audiovisuels de films d’animation pour enfants<br>Audiovisual Translation is the main subject of study of this research, evaluating more particularly the reception of dubbing by a “special” audience of the analyzed corpus, the child. The subtitle of the work –end user perception– reveals its empirical and experimental nature, our main goal being to empirically analyze the reaction of young people to some of the translation’s choices regularly adopted in dubbing animated films. Certain translation strategies and techniques may be used to reach or repel the audience: we will try to examine how they help understanding, make laugh or cry, and ultimately entertain the child.Nowadays, the only way to know if a children film is successful is by checking theaters’ box office and DVD, Blu-ray and VOD sales. In order to fill this gap, we have decided to perform an experiment with children which include the screening of some film clips dubbed in Spanish. Then, they have completed a specific questionnaire adapted to their cognitive development, which helped us to determine the information learned by the experience’s through the film. We thus seek to better understand the impact of the translation’s choices frequently made by audiovisual translators of animated films for children<br>La presente tesis doctoral centra su atención en el estudio de la traducción audiovisual, concretamente en el ámbito de la recepción del doblaje por parte de un destinatario final especial, el niño. El subtítulo del trabajo –un estudio de recepción– revela el carácter empírico y experimental del mismo, pues se pretende analizar empíricamente la reacción del público infantil ante algunas soluciones de traducción que se adoptan habitualmente en el cine de animación. El empleo de ciertas estrategias y técnicas de traducción pueden conllevar un acercamiento o alejamiento del producto al receptor, y no sabemos en qué medida éstas facilitan la comprensión, hacen reír o llorar y, en última instancia, entretienen.Hoy en día sólo podemos inferir el éxito de un largometraje para niños, y de su doblaje, a través de su recaudación en taquilla y de las posteriores ventas en el mercado doméstico de DVD, Blu-Ray y plataformas de vídeo por Internet. Con objeto de arrojar luz sobre este ámbito, se ha diseñado un experimento que muestra la reacción de los espectadores infantiles ante un estímulo audiovisual traducido, utilizando como sistema de evaluación un cuestionario adaptado a su desarrollo cognitivo. De este modo, se pretende obtener información acerca de la repercusión de las opciones traductológicas por las que suelen decantarse los traductores audiovisuales de películas de animación para niños
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Bullock, Mercedes. "Translating “Lunokhod”: Textual Order, Chaos and Relevance Theory." Thesis, Université d'Ottawa / University of Ottawa, 2020. http://hdl.handle.net/10393/40981.
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This thesis examines the concepts of textual order and chaos, and how Relevance Theory can be used to translate texts that do not adhere to conventional textual practices. Relevance Theory operates on the basis of presumed order in communication. Applying it to disordered communicative acts provides an opportunity and vocabulary to describe how communication can break down, and the consequences this can have for translation. This breakdown of order, which I am terming a ‘chaos principle’, will be examined through the lens of a Russian-language short story called “Lunokhod”, a story in which textual order, as described by Relevance Theory, breaks down.
In this thesis, I first lay out several translation challenges presented by my corpus, discuss each with reference to Relevance Theory, and examine the implications for translation through sample translation segments. This deconstruction section argues that conventional translation methods fail to properly address the challenges of my corpus. Next comes a reconstruction section, in which I develop a theoretical framework for my translation that has roots in Relevance Theory but that frees the translation from the constraints imposed by an ordered view of communication. Finally, I present the translation itself.
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Suarez, Silva Luciana, and Olaechea Diego Ignacio Schultz. "“Get those hot buns in here, girl” Estudio de recepción de la traducción del doble sentido en el doblaje de Hora de aventura." Bachelor's thesis, Universidad Peruana de Ciencias Aplicadas (UPC), 2020. http://hdl.handle.net/10757/652353.
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La traducción del humor es uno de los más grandes desafíos para el traductor en el campo de la traducción audiovisual. Además, la diversidad de receptores hace que el trabajo del traductor sea aún más desafiante, ya que el traductor debe intentar en lo posible que no se pierda el sentido original del segmento a traducir, y que el producto en algunos casos sea apto tanto para niños como para adultos. La presente investigación se centrará en analizar la recepción del humor en el doblaje de la serie animada Hora de aventura en niños de 7 a 11 años y jóvenes adultos de 18 a 22 años del Perú, teniendo en cuenta que existen factores como las técnicas empleadas en la traducción del producto cultural que podrían afectar la percepción del mismo; en particular, la comprensión del doble sentido, ya que el empleo de ciertas técnicas de traducción pueden conllevar un acercamiento o alejamiento del producto al receptor. Mediante encuestas a 4 grupos de 25 estudiantes (2 grupos conformados por niños y 2 por adultos) se indagará en la comprensión que tuvieron sobre las bromas de doble sentido en el doblaje de la serie.<br>Translating humor is one of the greatest challenges for a translator when it comes to Audiovisual Translation (AVT). This, along with the diversity of receptors, makes the translator's job even more complex, as the translator must find a way to preserve the original meaning of the segment to be translated, and in some cases make sure that the product is suitable for both children and adults. For this reason, the research main focus is to analyze the reception of children, from 7 to 11 years old, and young adults, from 18 to 22 years old, of the dubbed version of the animated series Adventure Time, taking into account that there are factors, such as the techniques used in the translation of the cultural product, that could affect its perception; in particular, the understanding of the double meaning, since the use of certain translation techniques may help the text be easier for receptors to understand the message, or conversely, make it difficult to understand. By conducting surveys of 4 groups of 25 students (2 groups made up of children and 2 other groups made up of adults), we will investigate their understanding of the double meaning jokes in the dubbed version of the series.<br>Trabajo de investigación
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Ragni, Valentina. "More than meets the eye : a reception study on the effects of translation on noticing and memorisation of L2 reverse subtitles." Thesis, University of Leeds, 2016. http://etheses.whiterose.ac.uk/18144/.
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This experimental study addresses one of the least explored audiovisual modes: reverse subtitling (L1 audio, L2 subtitles). Specifically, it investigates the effects of different translational choices on learners’ noticing and memorisation of lexical items and grammatical structures. The participants were English (L1) native speakers learning Italian (L2) at an upper-intermediate level (CEFR B2). Formal similarity (literal transfer) and discrepancy (non-literal transfer) between L1 and L2 were compared to establish if and how they affect the learners during subtitle processing and recall. Does one of the two translation conditions yield a better recall rate in a verbatim memory post-test? This constitutes the main research question addressed in this study. The main hypothesis was that there would be a difference in recall by translation condition, with formal equivalence having a facilitative effect on memory and literal subtitles therefore being more accurately recalled by learners. To determine how the different subtitle translations were processed, attention allocation and noticing were investigated through triangulation of eye-tracking, the recall post-test and an open questionnaire, which allowed the subjects’ thought processes to also be recorded. Subtitle-specific variables such as corpus frequency and linguistic category (lexicon vs. syntax) were also analysed. While participants watched the reversely subtitled clip, their eye behaviour was recorded using a Tobii X120 eye-tracker. After watching, participants answered the recall post-test followed by the open questionnaire and took part in a working memory control test. Translation condition was found to influence recall, with literal translations yielding superior recall performance than non-literal ones. The data also showed that participants did notice a translation discrepancy. Eye-tracking findings reveal a complex relationship between language elaboration and memory, whereby comparable amounts of visual attention to two subtitle versions can result in significantly different recall. Moreover, considerable insights were drawn from the open questionnaire, indicating that qualitative data can provide a richer picture of processing and memory attainment and should more regularly support experimental studies. The results demonstrate that subtitle-specific factors like translation can indeed influence the viewer and should therefore be taken into consideration in the design of future subtitle reception studies. The mnemonic potential of reverse subtitles for foreign language learning is also confirmed, strongly suggesting that this subtitling mode should be reconsidered as a valuable tool in language learning and deserves a place in the foreign language classroom. Future research could build on this study by using a larger sample size and more advanced statistical techniques, such as multilevel modelling. The results obtained highlight the complexity of the language faculty and call for additional reception studies where more fine-grained analyses further assess the effects of translation during the consumption of subtitled material. For instance, using a higher-frequency eye-tracker and considering more eye movement measures in the future will provide more precise insights in the reading process, enabling deeper understanding of information processing and memory retention, both crucial aspects in the development of foreign language skills.
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Castro, Thales Augusto Barretto de. "Um outro olhar sobre a literatura brasileira: Clarice Lispector em tradução alemã." Universidade de São Paulo, 2013. http://www.teses.usp.br/teses/disponiveis/8/8144/tde-11092013-102321/.
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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.<br>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.
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Felis, Damour Dorota. "La réception de l’œuvre de Gombrowicz en France." Thesis, Sorbonne université, 2019. http://www.theses.fr/2019SORUL036.
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Ce travail de recherche vise à mettre en lumière la poétique de la réception de l’œuvre de Gombrowicz en France. Il apparait que tout comme la notion du tapis chez James, évoqué par Casanova, il n’y a pas qu’un motif qui ressort d’une œuvre mais un ensemble cohérent, mettant en lumière l’existence souterraine d’une poétique de la réception. L’approche est pluridisciplinaire. La première partie portant sur la traduction, composante majeure de la réception d’une œuvre étrangère s’est avérée très féconde. Nous avons tenté d’y entrevoir le rythme comme l’organisation de l’historicité du texte. La deuxième partie éclaire la notion de la poïétique : les conditions dans lesquelles l’œuvre a été fabriquée. D’abord la Pologne, l’enfance, ces éléments qui grandiront jusqu’au statut des thèmes majeurs accompagnant l’auteur pendant toute sa création sous forme de biographèmes, ou de figures. Dans la troisième partie nous avons tenté d’analyser soigneusement des contenus bibliographiques reconstitués à partir de métadiscours hétérogènes (documents audiovisuels, entretiens, biographies, films) lesquels confrontés au métadiscours auctorial ont fait émerger des points de jonction entre les trajectoires personnelles de l’auteur et de son œuvre et l’impact qu’il a eu sur ses récepteurs en France. Enfin, en dernière partie, nous avons mis en exergue l’impact de la production littéraire de Gombrowicz sur les intellectuels en France. Tous ces éléments s’imbriquent et forment un tableau aussi cohérent que bariolé, avec son propre rythme bien spécifique rendant compte de ce rapport entre production, consommation et communication à l’intérieur de la praxis historique globale dont parlait Jauss<br>This research work aims to highlight the poetics of the reception of Gombrowicz's work in France. It appears that just as the notion of the carpet in James, evoked by Casanova, there is not only one figure that emerges from a work but a coherent whole, highlighting the underground existence of a poetics of the reception. The approach is multidisciplinary. The first part dealing with translation, a major component of the reception of a foreign work, proved to be very fruitful. We have tried to glimpse the rhythm as the organization of the historicity of the text. What does the original text do and what does its version, or rather versions, do? The second part illuminates the notion of poietic: the conditions in which the work was made. First, Poland, childhood, these elements that will grow up to the status of major themes accompanying the author throughout its creation in the form of biographs, or figures. In the third part, we have tried to carefully analyze bibliographic contents reconstructed from heterogeneous metadiscours (audiovisual documents containing interviews, biographies, films) which confronted with the author's metadiscourse have brought out junctions between the author's personal trajectories and his work and the impact he had on his receivers in France. Finally, in the last part, we highlighted the impact of Gombrowicz's literary production on intellectuals in France. All these elements intertwine and form a picture as coherent as it is colorful, with its own specific rhythm accounting for the relationship between production, consumption and communication within the global historical praxis of which Jauss spoke
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Soriano, Deborah. "Humorous culture and cultural humor: a theoretical investigation of the translation of cultural and humorous elements in audiovisual products." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2021. http://amslaurea.unibo.it/23986/.
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The purpose of my thesis is to offer a theoretical analysis of the translation problems that arise in AVT. Specifically, my investigation will focus on the issues related to cultural references and humorous elements in audiovisual products.
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Warntjes, Immo. "The Munich computus text and translation ; Irish computistics between Isidore of Seville and the Venerable Bede and its reception in Carolingian times." Thesis, Stuttgart Steiner, 2007. http://d-nb.info/1002197937/04.
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Spier, Peter. "The Spanish picaresque novel in French translation (1560-1715) : a study of its reception and treatment in France prior to 'Gil Blas'." Thesis, University of Oxford, 1990. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.314418.
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McKevitt, Kerry. "Leabhar gabhála, Yeats, and Joyce : the reception and translation of Irish literature in 'Nós' and 'A Nosa Terra' in Galicia (1918-1936)." Thesis, University of Oxford, 2004. http://ora.ox.ac.uk/objects/uuid:53906832-2c94-4239-bc03-3262c130842e.
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In Galicia, translation slowly emerged as part of a cultural program during the 1920s, primarily through the activities of the Xeración Nós and the Irmandades da Fala, two intellectual and political groups seeking to recuperate and defend Galician language and culture through two magazines, A Nosa Terra and Nós. This aspect of nationalism is deserving of study because few scholars have addressed how the appropriation of literary texts, via translations, impacts nationalists' agendas. Nineteenth-century Galician scholars had claimed to establish ethnic and cultural links in early history between Galicia and Ireland and other alleged Celtic nations. The Xeración Nós and the Irmandades da Fala continued this legacy by researching Celtic and Irish history as well as introducing Irish writers, discussing their contributions to literature, and translating their works in journals. Their main intention was to demonstrate the Galicians' distinctiveness from Spain and to establish a common link with a nation struggling for its national rights. Therefore, for both journals, the subject of Ireland and the Irish was an obligatory and ideologically imperative reference. This thesis examines the role of translation in Nos and A Nosa Terra and its impact on Galician cultural nationalism. Working within the parameters of translation theory, nationalism, and post-colonialism, I consider why literary works by authors such as W.B. Yeats (1865-1939), James Joyce (1882-1941), and Terence MacSwiney (1879-1920), and the Irish epic, Leabhar Gabhála (The Book of the Conquests of Ireland), are discussed and later translated into Galician and what these translations seek to achieve within the re-emerging culture. On this basis, my objective is to show that as translated literature assumes a new role by providing invigorating models in the target culture, it regenerates national culture, language, and literature.
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Kaat, Jacques. "The reception of Dutch fictional prose in Great Britain : a reception-sociological study of Dutch twentieth century fictional prose in translation in Great Britain (1970-1983) in relation to the Dutch and English literary canon." Thesis, University of Hull, 1987. http://hydra.hull.ac.uk/resources/hull:3099.
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von, Bergen Louise. "Nordisk teater i Montevideo : Kontextrelaterad reception av Henrik Ibsen och August Strindberg." Doctoral thesis, Stockholms universitet, Institutionen för litteraturvetenskap och idéhistoria, 2006. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-1210.
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The primary purpose of this dissertation is to study the dialogue between the Scandinavian drama and the Uruguayan theatre; how drama from Scandinavia has been received in the Río de la Plata during the last hundred years; how it has been adapted and activated to be meaningful to the audience; how it has been integrated within the Uruguayan theatre and society and how the play changes with that new dialogue. As this is the first study of Scandinavian plays in Uruguay a secondary purpose is to document what has been put on stage; fifty-three productions, ninety percent of which were plays by Henrik Ibsen and August Strindberg. The study is organized in three parts: a) a historical and sociological description of the Uruguayan society and its theatre; b) a presentation of Scandinavian drama, staging of Scandinavian theatre and its reception during the twentieth century; c) a comparative analysis of the reception in its widest sense at different periods of eleven productions of two dramas by Ibsen and one by Strindberg. The work is thus part of a tradition of the history of reception. According to the hermeneutic method, the reading is done from the horizon of expectation at the time of the staging interwined with today’s perspective. I follow the Argentinean investigator of theatre Osvaldo Pellettieri’s definition of the concept “reception”: passive reception by the public; reproductive reception, reception including translation and criticism; productive reception, creative reception expressed as staging or as a text that is evidently influenced by another text. In studying the process from the source text of a play to the reception of a performance, the four steps that Patrice Pavis has pointed out have been followed: 1) the interidiomatic translation of the text, 2) the translation of the text into a manuscript as base for a production 3) the staging and 4) the performance as received by the public. More emphasis is put on the linguistic aspect of the reception and reconstruction than is generally the case in theatre research, as this study lies on the border between literature and theatre studies. Do the Scandinavian plays fall into the topics of the day, politically, socially, culturally and aesthetically? Ibsen’s and Strindberg’s dramatic production have drawn the attention of Uruguayan critics since 1894, four years before the public had the opportunity to see a play on stage in Montevideo. Their contents and dramatic aesthetics were evaluated and we can also see how their ideas are discussed and integrated in the social debate on womens’ rights and the economic consequences of divorce. In order to see where the critics put their emphasis, the following aspects were considered: the author, the plot and its actuality, the audience, the translation, the direction, the scenography, the acting, the scenery and the music. The emphasis and interest of the critics have changed during this period of a hundred year. At the turn of the century 1900 they focused on the plot, the protagonist and also put a lot of emphasis on the public’s reactions. A realistic interpretation was appreciated but its content was not related to the situation in the surrounding society. During the first half of last century we only find visiting companies from Europe playing the Scandinavian dramatists. At first they introduced Ibsen and later Strindberg to the public in Montevideo via performances made by European actors for a European public. The Montevidean public was sometimes amazed by the new theatrical form and stunned by the contents of the play, but, according to the critics, the spectators eventually accepted it all and thus widened their horizon. There is a great contrast in connection with the distribution of the critics' interests from the fifties onwards. The theme and its actuality were discussed, the author got a lot of space as did the director and the actors. The audience’s reaction was seldom commented upon, nor the scenography. Towards the end of the century the direction, the scenography and the scenery drew the critics’ attention on behalf of the actors, but the theme and its actuality preserved their interest. In the late forties the Uruguayan theatre had developed a theatre system. Scandinavian plays were now staged by native theatre groups and can be considered as integrated within the Uruguayan cultural and social system. We can see how the Scandinavian theatre performances accompanied theatre life in Montevideo; its rise during the fifties and sixties, its fall during the dictatorship of the seventies, its resurrection and its present condition, more free, more open and difficult to define in a few words. The last three chapters are a study of A doll’s House, An Enemy of the People and Creditors in Montevideo. It is a more detailed analysis of the translation of the texts, the transposition to the stage, how the performances relate to the cultural, social and political context and how they are received by the critics. A comparative study shows how the directors and the theatregroups have searched for different solutions to represent the plays. It shows great differences in the realization, differences that depend on the varying conditions of the groups; if they are part of the official theatre or an independent group, their political and aesthetical orientation, their intentions and artistic level and the social context in which the staging takes part.
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Polten, Orla. "Spectres of metre : English poetry in classical measures, 1860-1930." Thesis, University of Cambridge, 2018. https://www.repository.cam.ac.uk/handle/1810/278573.
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Why did so many poets attempt English verse in Ancient Greek and Latin metres during the late nineteenth and early twentieth centuries? And what was at stake in these attempts? The most immediate importance of these questions to literary criticism is the fact that they mark one of the most striking and consistent points of contiguity between the verse-forms — and poetic theories — of poets commonly categorised as ‘Modernists’ and ‘Victorians’. This study uncovers a lineage of experimentation with classical metres connecting Algernon Charles Swinburne to Ezra Pound and H. D., in the process challenging received periodizations of English verse-history. The assumption that vers libre and metrical verse constitute alternate and incompatible paradigms prevents us from being able to perceive, in either of them, the endless performative possibilities that rhythm offers us — possibilities which, as I intend to demonstrate, underpin some of the period’s most influential experiments in verse-form. My close studies of these poetic forms raise another question: what is the ontological status of these poetic forms that pass through multiple languages and millennia? I frame my readings of English poetry in classical measures through the metaphor of the ghost because English poetry can only encounter classical metres as a kind of spectral or incomplete presence. I refer to this encounter, borrowing a term from Jacques Derrida, as ‘hauntology’: a situation of temporal, historical, and ontological disjunction that occurs when a being or entity, apparently present, is revealed to be an absent or continually-deferred (non-)origin. The hauntological character of English poems in classical measures is due not only to fundamental differences between the syntaxes and phonologies of Ancient Greek, Latin, and English, but also to the loss of knowledge concerning the traditions and conventions of metrical performance in Ancient Greek and Latin. This is why writing English poetry in classical metres generally poses a far greater challenge — both technically and conceptually — than writing English poetry in the metres of a living language: recreating classical metres in English requires reimagining the very nature of the encounter between poems and bodies, while also facing up to the quasi-magical charge that ‘the classical’ holds in the English literary imagination.
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Pugh, Beverley Jane. "Jasper Heywood's translation of Seneca's Thyestes : with particular reference to the latter's sixteenth and seventeenth-century reception and the themes of tyranny, kingship and revenge." Thesis, University of Warwick, 1997. http://wrap.warwick.ac.uk/4199/.
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The thesis offers a critical analysis of the transmission of Seneca's Thyestes in the sixteenth and seventeenth centuries. In Volume 1, the 1584 Gryphius edition of Seneca's Thyestes; the 1560 edition of Heywood's translation of the play and the 1674 edition of Wright's translation and burlesque version have been transcribed. This is the first time that these texts have been presented together for discussion. The commentary (Volume II) examines a broad range of dramatic material including Neo- Latin plays such as Goldingham's Herodes (1570/80); Gwinne's Nero (1603); Snelling's Thibaldus (1640) and the anonymous Stoicus Vapulans (1648). Prose works considered include the Latin lexicas and grammars of Lilly and Whitinton; philosophical treatises such as Reynolds A Treatise of the Passions and Faculties of the soule of Man (1640); and religious works such as Hooper on the Ten Commandments (1560). It presents hitherto unpublished material- MS Sloane 1041; and material that has previously received little attention- the Hendrik Goltzius' engraving of Melpomene (1592) and the Restoration Mock-Thyestes in Burlesque. Research material was consulted at the British Library; BL Department of Manuscripts; BL Print Room; University of Warwick Library; University of Birmingham Library; Senate House Library, University of London; The Bodleian Library, University of Oxford; The Warburg Institute and The Institute of Classical Studies.
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Nowinska, Magdalena. "Tradução e sensibilidade. Die Judenbuche de Annette von Droste-Hülshoff e suas traduções." Universidade de São Paulo, 2012. http://www.teses.usp.br/teses/disponiveis/8/8144/tde-20082012-125724/.
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Este trabalho é guiado por uma questão central que diz respeito ao comportamento de tradutores e editores diante de textos de cujo conteúdo eles talvez discordem. Em termos concretos, analisouse como as traduções de um determinado texto Die Judenbuche (1842), de Annette von DrosteHülshoff, um texto canônico da literatura alemã, ainda sem recepção e sem tradução no Brasil enfrentaram os motifs judaicos nela contidos, motifs estes que apontam para estereótipos antijudaicos. O corpus de análise foi composto por 25 traduções de 12 idiomas e 13 países, todos do âmbito cultural chamado de Ocidente, coincidindo, do ponto de vista temporal, aproximadamente com o século XX. Baseandose em teorias de recepção (principalmente nas vertentes de Wolfgang Iser e da ReaderResponseTheory) e de reescritura (de André Lefevere), a pesquisa buscou mostrar que traduções, uma das formas de recepção e reescritura de literatura, evitam discutir temas sensíveis nos textos nelas publicados e são, assim, mais \"estáticas\" do que a crítica literária, uma outra forma de recepção e reescritura, escolhida aqui como ponto de comparação. Para a análise das traduções, certos trechos e aspectos da Judenbuche foram definidos e analisados em relação ao original. Além dos textos traduzidos, os paratextos das traduções foram também analisados. Nos textos traduzidos, procurouse por shifts indicativos de atitudes; nos paratextos, por menções aos motifs judaicos e discussões sobre eles. A interpretação dos resultados considerou vários contextos (os contextos nacionais e históricos, as editoras, a identidade dos autores dos diferentes gêneros textuais, as convenções dos gêneros, etc.). Como contexto comum e como uma das fontes de reações dos autores dos textos analisados foi presumido o contexto da história judaica no Ocidente. Os resultados da análise confirmaram, por um lado, a hipótese, mostrando que as traduções de fato não costumam debater explicitamente temas sensíveis em textos literários. Ao mesmo tempo, contudo, as traduções mostraram que os motifs judaicos da Judenbuche preocuparam sim os tradutores e editores. Os textos traduzidos mostraram diversos shifts. Nos paratextos, menções explicitas e valorativas aos motifs judaicos foram poucas, mas observouse a tendência de seu aumento nos anos mais recentes, nos quais o tema do antissemitismo na literatura vem ganhando destaque no âmbito dos estudos literários. Traduções inseridas em contextos acadêmicos mostraram mais ocorrências de menções aos motifs judaicos em paratextos do que traduções direcionadas a um público geral. Em relação ao contexto da história judaica do século XX, mudanças no corpus como todo foram observadas; shifts nos textos traduzidos aumentaram no período de 1933 a 1945, enquanto os textos traduzidos de depois de 1945 mostram uma tendência a atenuar as ambiguidades da Judenbuche. Em relação aos contextos nacionais, mudanças foram observadas na direção de um aumento de sensibilidade em relação ao conteúdo da Judenbuche. Concluiuse, assim, que, embora traduções não fossem consideradas uma plataforma de debates abertos sobre o problema do antissemitismo na literatura, os tradutores e editores mostraram um aumento de sensibilidade em relação ao tema no decorrer do tempo.<br>This study is guided by a question about the behaviour of translators and editors towards texts the contents of which they possibly disagree with. More specifically, the study analysed how the translations of a particular text Die Judenbuche (1842), by Annette von DrosteHülshoff, a canonical text of German literature, as yet without reception or translation in Brazil face the Jewish motifs contained in it, motifs sometimes considered as antiSemitic stereotypes. The corpus of the study, composed of 25 translations into 12 languages and from 13 countries, comprehends the cultural area usually denominated as the West, and coincides temporally with the 20th century. Based on theories of reception studies (by Wolfgang Iser and from ReaderResponseTheory) and on the theory of rewriting (by André Lefevere), the study sought to demonstrate that translations, one of the forms of reception and rewriting of literature, avoid discussing sensitive topics in the translated texts, and are thus more \"static\" than literary criticism, another form of reception and rewriting, chosen as point of comparison. For the analysis of the translations, certain passages and aspects of Die Judenbuche were defined and analysed in comparison with the original. The paratexts of the translations were also analysed. The analysis of the translated texts sought to identify shifts indicatives of attitudes; the analysis of the paratexts sought to identify references to and discussions on the Jewish motifs. The interpretation of the results considered different contexts (the national and historical contexts, the publishing houses, the identity of the authors of the different text genres, conventions of the genres etc.). The Jewish history in the West was presumed as a common context and as one of the sources of attitudes of the authors of the analysed texts. The results of the analysis confirmed the hypothesis, demonstrating that translations in fact do not undertake explicit debates of sensitive topics in literary texts. However, the translations also demonstrated that the Jewish motifs in Die Judenbuche did preoccupy the translators and editors. The translated texts contained diverse shifts. In the paratexts only few explicit and evaluative references to the Jewish motifs were identified, but in recent years, in which literary antiSemitism has received more and more attention in literary studies, an increase in references was observed. Translations from academic contexts showed more references to Jewish motifs in their paratexts than translations for the general public. Against the context of Jewish history in the 20th century, variations have been observed in the corpus as a whole; in the translated texts, shifts increased during the years from 1933 to 1945, while in the years after 1945 tendencies towards an attenuation of Die Judenbuche\'s ambiguities dominated. Within the national contexts, an increase of sensibility towards the content of Die Judenbuche was observed. Thus, even though translations apparently are not considered a platform for debates on problems of antiSemitism in literature, the results evidenced that translators and editors did show, in the course of time, an increase in sensitivity with regard to the topic.
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Alfvén, Valérie. "Violence gratuite et adolescents-bourreaux : Réception, traduction et enjeux de deux romans suédois pour adolescents, en France, au début des années 2000." Doctoral thesis, Stockholms universitet, Romanska och klassiska institutionen, 2016. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-132432.
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The purpose of this thesis is to contribute to a better understanding of the role of Swedish literature for adolescents in the French literary scene in the early 2000s. The sociology of literature constitutes the main theoretical framework of this thesis. Drawing from examples that broach the sensitive topic of "unprovoked violence" as it is treated in two Swedish novels for teenagers, Spelar död [Play Death] by Stefan Casta and När tågen går förbi (Train Wreck) by Malin Lindroth, this thesis shows how these novels are innovative in Even-Zohar’s sense of the term, as addressed in his Polysystem Theory (1990). By introducing "unprovoked violence" and violent teenagers via a realistic genre, such works filled a vacuum in the French system and injected a new dynamic into it. This dynamic makes it possible for new literary models to be introduced in the system and to change the standards of that system. The analyses of the French and Swedish receptions of the two novels mentioned above show that they gave rise to a moral panic in France, which is not an unusual thing to happen in periods of ongoing change. This also clarifies the differences in norms between the two systems. The French system tends to reject dark topics, while the Swedish wishes to discuss them. The investigations of the translations of unprovoked violence show that adherence to Swedish norms determine the translation’s adequacy (Toury), which may be part of the reason for the stormy reception the two works received in France, and their undergoing censure. The position of translators and publishers in the literary system also plays a major role for a translated text not being censured during the transfer from one system to another. Even if the Swedish titles translated into French are few, this thesis shows that the impact of Swedish literature on adolescents in France is certain. By introducing new and sensitive topics, such novels could be early markers of an evolution of the French field of literature for adolescents.
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Rosa, Gisele Marion. "Tradução cultural: a imagem brasileira em Do Outro Mundo de Ana Maria Machado." Universidade de São Paulo, 2011. http://www.teses.usp.br/teses/disponiveis/8/8139/tde-05082011-145105/.
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No atual contexto em que vivemos, a globalização, isto é, o fenômeno que promove a aproximação entre países e as representações culturais de seus produtores, justifica-se destacar a mais importante tarefa nesta realidade: a tradução. Destacamos nessa pesquisa a relevância e posteriores conseqüências num contexto intercultural cuja direção tradutória seja de países periféricos para os demais países, como a versão da obra literária infanto-juvenil Do Outro Mundo de Ana Maria Machado para o inglês. O livro traz uma série de referências culturais brasileiras, referências históricas e de conscientização sobre a igualdade social e racial discutidas em uma linguagem para crianças. Ainda, essa tradução não foi realizada por um falante nativo da língua meta, mas por uma tradutora que tem como língua materna a mesma da autora e respectiva obra literária, o português brasileiro. Assim, articulamos a Estética da Recepção e a Imagologia, teorias literárias que dialogam com os Estudos da Tradução, para a formulação da seguinte hipótese, de que a apreensão da cultura brasileira pelo consumo de uma produção cultural, como o livro infanto-juvenil, por um público alvo peculiar que se encontra ainda em processo de formação de seus valores e visão de mundo, dentro do contexto cuja autora deteve enorme controle do resultado final, visto a sua parceria de criação com a tradutora, privilegiará a manutenção de traços culturais da nossa sociedade. Aqui, estes se encontram representados por imagens construídas pela escritora no original e, posteriormente, pela tradutora na tradução, dentro de uma temática de extrema relevância social, além de uma forma engenhosa que exige diferentes níveis de interpretação dos leitores nesse contato entre culturas. Assim, com base nos fundamentos teóricos, buscaremos demonstrar essa hipótese no nível discursivo em três pontos principais: a identificação das imagens no texto original e traduzido que apresentam marcas da identidade cultural brasileira; segundo, o fato de que tradução e original fazem parte do universo infanto-juvenil exigindo um enfoque na recepção estética; e por último, a particularidade dessa tradução, isto é, os desdobramentos de uma parceria entre escritora e tradutora que traz uma diferente perspectiva para o resultado final.<br>In the current moment we live in, the globalization, that is a phenomenon that promotes approximation among countries and cultural representations from their producers, we highlight the most important task present and essential within it: translation. We emphasize in our research the possible consequences within an intercultural context where the translation direction is from periphery to center, as we see in Do Outro Mundo by Ana Maria Machado and its translation into English. This childrens book brings many Brazilian references about History facts, social and racial civil rights. Yet, its translation was not made by a native of English, instead, a Brazilian translator who happens to be the authors daughter who contributed with this research by revealing some of the issues presented in this particular translation. Therefore, we articulate the Reception Theory and the Imagology Studies both literary theories with Translation Studies to formulate the following hypothesis: the comprehension of Brazilian culture by a specific target audience, that is, children who are still developing their moral and social values by a translation of a book which there was a peculiar interference by the partnership between the author and the translator. It will show as a result the maintenance of the cultural representation of our society. Thus, this representation is composed by the images constructed by the author in the original text and later by the translator in the translated text revealing a theme of enormously social relevance and within a form that demands from the reader different levels of interpretation.
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Blanchard, Charlotte. "Réception et traduction de la poésie d’Adrienne Rich en France." Thesis, Bordeaux 3, 2019. http://www.theses.fr/2019BOR30011/document.
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Le but de cette thèse est de comprendre pourquoi la poésie d’Adrienne Rich (1929-2012), autrice étatsunienne majeure, est absente du champ littéraire français. Poétesse prolifique, Adrienne Rich reçut de nombreux prix littéraires tout au long de sa carrière. Essayiste, elle fut une théoricienne du mouvement féministe étatsunien. Des recueils de ses poèmes ont été publiés dans une vingtaine de langues dans le monde. En français, une quinzaine de poèmes d’Adrienne Rich a été traduite et publiée sur divers supports (anthologies, revues littéraires, blogs). Un recueil a été conçu en collaboration avec la poétesse, mais il n’a jamais été publié à ce jour. Malgré différentes tentatives pour accueillir la poésie d’Adrienne Rich en France (traduction de ses essais, inscription au programme de l’agrégation, lecture en librairie) elle est toujours en 2019 dans une situation ambiguë de présence mais d’invisibilité pour le lectorat français. Nous chercherons donc à expliquer cette réception en suspens en examinant d’abord les traductions de poèmes d’Adrienne Rich publiés en français. Qui en sont les auteurs et autrices ? Quelles sont leurs pratiques et les caractéristiques de leurs traductions ? Leurs travaux s’inscrivent dans le sous-champ éditorial de la poésie traduite en France qui sera analysé pour en identifier les dynamiques, les acteurs et actrices, les supports de diffusion. À la lumière de ces analyses qui relèvent de la sociologie de la traduction et de la réception, nous comparerons le cas de la poésie d’Adrienne Rich avec d’autres poètes mais surtout d’autres poétesses étatsuniennes contemporaines. Dans ce contexte de réception, il faut aussi prendre en compte l’histoire des idées. En effet, l’œuvre d’Adrienne Rich est marquée par l’engagement féministe de l’autrice, ce qui représente une caractéristique significative pour le transfert culturel que constitue la traduction. Nous nous intéresserons donc à l’histoire des mouvements mais aussi des courants de pensée féministes aux États-Unis et en France depuis les années 1960. Enfin, dans une démarche prospective, ce travail se propose d’envisager les modalités de conception d’un recueil de poèmes d’Adrienne Rich traduits en français à l’aune de l’analyse du champ éditorial de la poésie en France et d’une lecture microtextuelle des poèmes déjà traduits. Nous illustrerons cette réflexion par des traductions ou retraductions de quelques textes : comment traduire une poésie féministe ?<br>The aim of this thesis is to understand why the poetry of Adrienne Rich (1929-2012), the major United States poet, is absent from the French literary field. Adrienne Rich was awarded numerous literary prizes throughout her prolific career. As an essayist, she was one of the first theorists of the feminist movement in the United States. Collections of her poems have been published in almost twenty languages worldwide. In French, fifteen of her poems have been translated and published in different forms (anthologies, literary magazines, blogs). A collection was being drawn up in collaboration with the poet, but to this day has never been released. Despite several attempts to introduce her work in France—some of her essays have been translated, a collection of her poems was in the agrégation curriculum, and she was invited to read her work in a bookshop—in 2019 it remains largely invisible to French readers. This thesis will thus try to explain this “arrested” reception first by examining the translations of Rich’s poems which have been published in French. Who translated her poetry? How can we characterise their translations? Their work is part of the French subfield of translated poetry which will be analysed so as to identify what is at stake, who is involved and how the poetry is distributed. In the light of these analyses which come under the sociology of translation and of reception, the case of Adrienne Rich’s poetry will be compared with other US male and especially female poets from the same period. In this reception context, addressing the history of ideas is crucial. Indeed, Adrienne Rich’s work is marked by her engagement with feminism, which is a significant element in the cultural transfer which translation represents. As such, the history of feminist movements and theories in France and the United States since the 1960s will be subjected to close analysis. Lastly, in a prospective approach, this thesis will focus on the conditions for the possible publication of a collection of Adrienne Rich’s poetry translated into French, in light of the analysis of the publishing field of poetry in France and of a microtextual reading of her previously published poems. These considerations will be illustrated by new translations or retranslations of selected poems. At the heart of this research lies the question: how is feminist poetry to be translated?
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Debrosse, Anne. "« La souvenance et le désir ». La réception des poétesses grecques dans l'Antiquité et aux seizième et dix-septième siècles (France et Italie)." Thesis, Paris 4, 2012. http://www.theses.fr/2012PA040031.
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Sappho, à la charnière des VIIe et VIe siècles avant Jésus-Christ, affirmait que l'écriture rend immortel : « Mais tu mourras et tu seras gisante et personne jamais n'aura de toi un jour ni souvenance ni désir. Car tu n'as pas eu en partage les roses de Piérie ». Les poétesses grecques qui lui ont succédé, premières voix féminines que l'histoire nous a conservées, ont à leur tour cueilli les roses des Muses, auxquelles elles furent comparées. Mais que reste-t-il de cette « souvenance », quelles formes a-t-elle empruntées et quels présupposés – ou quels « désirs » – la sous-tendent ? Hormis les nombreuses éditions de textes récentes des poétesses, les rares travaux existants ne démontent pas les rouages de leur réception et portent essentiellement sur la période antique ; or, les études diachroniques sur la réception de Sappho ont montré à quel point les lectures successives en avaient déformé les traits. C'est encore plus évident pour les poétesses car, dès l'Antiquité, deux choix entrent en concurrence quand on parle d'elles : on les regroupe en fonction des formes littéraires qu'elles privilégient ou, plus souvent, en fonction de leur sexe. Nous avons cherché à savoir pourquoi, en nous focalisant sur les moments cruciaux de la naissance puis de la renaissance des poétesses, dans les pays qui les ont découvertes. Aux questions traditionnelles de la philologie (attribution, transmission, corruption) s'ajoutent donc des problématiques sur la question de la place des femmes dans le champ littéraire (quels genres peuvent-elles pratiquer ?, quelle était leur audience ?)<br>Sappho, who lived between the 7th and 6th centuries B.C. stated that writing could ensure immortality: “but you will die and you will lie dead, and no one will ever remember or long for you, for you did not obtain the roses of Pieria”. The Greek female poets who followed her, among the first female voices that have come down to us, next gathered the roses of the Muses, to whom they were compared. But what has remained of this remembrance, what forms has it taken, and based on what expectations? Aside from the many recent editions of the texts of these poets, the rare studies that exist have focused on Antiquity. However, diachronic studies of the reception of Sappho have shown that the reading of her work has changed. This is even clearer in the case of the later poets: since Antiquity, they have been grouped together either in terms of the literary forms they adopted or, more often, in terms of their sex. This study attempts to understand why, by focusing on the reception of the Greek female poets in the ancient world and in the countries that later rediscovered them. In addition to the traditional philological questions (attribution, transmission, corruption) it examines the issue of the place of women in literature (the literary genres they could adopt, their audience)
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Ataide, Antonio Marcio. "\'Più famoso che conosciuto\': panorama da recepção de I promessi sposi no Brasil (1843-2012)." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8148/tde-10082016-105016/.
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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.<br>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.
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Gonçalves, Meire Lisboa Santos. "CRIANDO RAÍZES, ESCALANDO ÁRVORES: Análise da tradução da obra The giving tree de Shel Silverstein." Pontifícia Universidade Católica de Goiás, 2011. http://tede2.pucgoias.edu.br:8080/handle/tede/3801.
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Previous issue date: 2011-09-05<br>Analysis of the translation in Portuguese (Brazil) of the children's story "The Giving
Tree" by Shel Silverstein, American original, Harper Collins, published in 1964. A
Portuguese translation was made by Fernando Sabino, published by Cosac Naify in
2006 with the title "A árvore generosa." The comparison between original and
translation will be done from the parameters of children’s reception given by the
relevance of their language development. The comparative analysis between original
and translation will be performed from the parameters of the children’s reception. It
will be described the methodology and procedures for passage of the source
language to target language, considering the theoretical Darbelnet and Vinay (2004),
Nida (2001/2004), Catford (1980) and Newmark (2001). It will also be mentioned
reflections of other theorists such as Goethe, Benjamin, and Derrida.<br>Análise da tradução em Língua Portuguesa (Brasil) da história infantil “The giving
tree”, de Shel Silverstein, original estadunidense, editora Harper Collins, do ano de
1964. A tradução em português foi feita por Fernando Sabino, publicada pela Cosac
Naify em 2006, com o título de “A árvore generosa”. O estudo comparativo entre
original e tradução será realizado a partir dos parâmetros da recepção infantil dada a
relevância do desenvolvimento da linguagem na criança. A análise comparativa
entre original e tradução será realizada a partir dos parâmetros da recepção infantil.
Serão descritos a metodologia e os procedimentos de passagem da língua de
partida para a língua de chegada considerando os teóricos Vinay e Darbelnet (2004),
Nida (2001/ 2004), Catford (1980) e Newmark (2001). Serão também mencionadas
reflexões de outros teóricos como Goethe, Benjamim e Derrida.
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Abud, Telma Franco Diniz. "Tradução de poesia infantil e sua recepção via Pensar Alto em Grupo: \"As meninas\" e \"O menino (azul)\", de Cecília Meireles." Universidade de São Paulo, 2018. http://www.teses.usp.br/teses/disponiveis/8/8160/tde-07022019-153420/.
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Centrado no campo dos Estudos da Tradução em confluência com o campo da Educação, este trabalho visou investigar, diretamente com as crianças leitoras, a recepção de poemas infantis traduzidos para o inglês, e contrastá-la à recepção dos respectivos poemas fonte, escritos em português, valendo-se, para a geração de dados, da prática de letramento Pensar Alto em Grupo (ZANOTTO, 2014). Os poemas fonte, \"As meninas\" e \"O menino azul\", pertencem à coleção de poemas Ou isto ou aquilo (1964), de Cecília Meireles. As versões para o inglês foram elaboradas pela pesquisadora, e pela poeta e tradutora britânica Sarah Rebecca Kersley, aplicando critérios que privilegiam a correspondência de atributos poéticos entre poema fonte e traduzido (BRITTO, 2002; 2005; 2010). O contraste entre as recepções fez-se com base nas interpretações infantis: cada poema fonte foi \'pensado-alto\' por dois grupos de crianças brasileiras e cada poema traduzido por dois grupos de crianças estrangeiras. Do lado brasileiro, crianças de 9 a 11 anos, matriculadas na EMEF Vera Lúcia Fusco Borba (São Paulo); do lado estrangeiro, crianças da mesma idade, matriculadas no correspondente Y5 das escolas inglesas Thriplow Primary School (Cambridge) e King David Primary School (Birmingham). No que concerne à Educação, este estudo contribuiu para confirmar a aplicabilidade do PAG como instrumento para promover a leitura de poesia no Ensino Fundamental I. No que concerne aos Estudos da Tradução, este estudo permitiu afiançar o PAG como ferramenta de apoio a tradutores e a estudiosos da tradução, em especial aos de literatura infantil e/ou aqueles voltados à recepção. Ao comparar as interpretações, foi possível apontar convergências de leituras entre os diferentes grupos, sugerindo que o horizonte de expectativas das crianças, no que concerne os valores afetivos na esfera doméstico-familiar é muito semelhante dentro de uma mesma cultura e também entre diferentes culturas. Foi possível também apontar divergências entre as interpretações, e distingui-las em pelo menos dois tipos: 1) aquelas motivadas pela ancoragem linguístico-cultural, a saber, os diferentes ambientes histórico-geográficos, em conjunto com a história de vida dos participantes, seu conhecimento de mundo, além do \"horizonte de expectativas\" dos leitores em face de uma nova obra (JAUSS, 1994 [1967]); e 2) aquelas provocadas por interferências na tradução e que, mesmo quando aparentemente inofensivas, podem provocar o popular \"efeito borboleta\" (ASLANOV, 2015) descrito na Teoria do Caos. Assim, no plano específico, a par dos dados gerados pelo PAG, o tradutor pode fazer escolhas mais conscientes e éticas. E num plano mais amplo, o estudioso pode se deparar com resultados que comprovem teorias já existentes ou apontem para novas hipóteses, novos caminhos.<br>This thesis, which encompasses both Translation Studies and Education Studies, examines how English-speaking young readers receive Brazilian childrens poems translated into English and compares their reactions to those of young Brazilian readers receiving the source poem in the childrens source language. This study uses data from the dialogical literacy practice known as Think Aloud in Group (ZANOTTO, 2014). The source poems, As meninas [Girls at the window] and O menino azul [The blue boy] are part of the collection Ou isto ou aquilo (1964) by Cecília Meireles. The English translation was rendered by the author together with British translator and poet Sarah Rebecca Kersley and subscribed to the criteria of correspondence of poetic attributes between the source poem and the translation (BRITTO, 2002; 2005; 2010). Comparison of how the poems were received was based on the childrens interpretations: each source poem was thought aloud with two groups of Brazilian children, and each translated poem was thought aloud with two groups of English-speaking children. In Brazil, the groups consisted of children ages 9 to 11 enrolled in the 4th grade at Vera Lúcia Fusco Borba Municipal State-Funded School (São Paulo); in England, the children were the same age and enrolled in the equivalent Y5 at Thriplow Primary School (Cambridge) and King David Primary School (Birmingham). In terms of education as a field of study, this research confirms the applicability of Think Aloud in Group as an instrument to encourage children in primary school to read poetry. In terms of Translation Studies, this work demonstrates the efficacy of Think Aloud in Group as a support tool for translators and scholars of translation, particularly for specialists studying childrens literature and/or how translated childrens literature is received by non-native speakers. A comparison of the childrens interpretations evidences convergences among the groups, suggesting that childrens horizons of expectations, in terms of home and family values, is very similar within the same culture as well as between different cultures. And two types of divergences in the interpretations are also apparent: 1) differences owing to linguistic and cultural references: the readers historical and geographic setting, individual life story, understanding of the world and \"horizon of expectations\" when exposed to a new poem (JAUSS, 1994 [1967]); and 2) differences caused by interferences in the translation that, even when seemingly innocuous, may lead to the popular butterfly effect\" expressed in chaos theory (ASLANOV, 2015). Thus, specifically speaking, using data from Think Aloud in Group practices allows translators to be more cognizant and ethical in their translating choices; and broadly speaking, these practices provide a rich data set that can be used both to test current theories and to generate new hypotheses.
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Wang, Yu. "La réception des anthologies de poésie chinoise classique par les poètes français (1735-2008)." Thesis, Paris 4, 2014. http://www.theses.fr/2014PA040041.
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Notre thèse est consacrée à la réception de la poésie chinoise classique chez les poètes français à travers notamment les anthologies. Elle est divisée chronologiquement en trois parties. La Partie I couvre la période 1735-1860, antérieure à la première anthologie de poésie chinoise et où il n’est donc question que de morceaux choisis. Nous estimons que cette partie est indispensable sur les plans à la fois historique et comparatif. Sans elle, nous apprécierions peut-être moins l’arrivée des anthologies et leur contribution à l’évolution de la réception de la poésie chinoise chez les lecteurs-poètes. La Partie II commence par la parution de Poésies de l’époque des Thang. Nous débutons ainsi par un aperçu général des anthologies parues entre 1862 et 1949. Puis nous abordons la traduction de cette période et les anthologies majeures. Nous entrons par la suite dans le vif du sujet qu’est la réception de ces anthologies chez les lecteurs-poètes, tels que Paul Claudel, Segalen et Saint-John Perse. La Partie III concerne la période 1953-2008. Nous abordons d’abord la diffusion et la traduction des anthologies de cette période. Puis nous parlons en détail des trois sortes d’anthologies produites par les traducteurs professionnels, les sinologues et les poètes, sans oublier de réserver un chapitre à des anthologies majeures. Enfin, nous étudions les poètes contemporains qui lisent la poésie chinoise traduite avec leurs différentes modalités de réception. Dans la réception, le plus intéressant n’est peut-être pas de connaître la poésie chinoise classique mais bien de s’interroger sur la façon dont les poètes français l’interprétèrent. Nous espérons avoir pu répondre à cette interrogation à travers le long parcours historique déployé dans cette thèse<br>This thesis addresses the reception of Classical Chinese poetry by French poets, particularly by means of anthologies. It is organised chronologically in three parts. Part One covers the period 1735–1860, before the first anthology of Chinese poetry, and is therefore concerned only with excerpts. An understanding of this first period is essential if we are to appreciate the significance of the anthologies that followed, and their role in the changing reception of Chinese poetry by reader-poets. Part Two begins with the publication of the anthology Poésies de l’époque des Thang. After a general overview of the anthologies published between 1826 and 1949, there is a more detailed account of translation practices over this period, and of the most influential anthologies. It is then possible to address the central issue of this thesis: the reception of these anthologies by reader-poets, such as Paul Claudel, Victor Segalen and Saint-John Perse. Part Three is concerned with the period 1953–2008. Following an account of the dissemination and translation practices of anthologies from this period, there is a detailed discussion of the three types of anthologies produced by professional translators, Sinologists and poets respectively, and a further chapter is devoted to the most influential anthologies. Finally, a study is made of contemporary poets who read Chinese poetry in translation, and of their different forms of reception. This reception is of interest, not so for much for what it tells us about Chinese poetry itself, but rather for the way it has been interpreted by French poets. The long historical trajectory of this thesis provides an important insight into this interpretation of Chinese poetry
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Chen, Lili. "La réception de Marguerite Duras en Chine." Thesis, Aix-Marseille, 2016. http://www.theses.fr/2016AIXM3006.
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Les études sur Marguerite Duras (1914-1996) sont innombrables et abondantes en France, ainsi qu’en Chine. Le présent travail a dévoilé, à la lumière des méthodes empruntées à la littérature comparée, à l’analyse textuelle, à l’écriture féminine, et à l’autobiographie, comment l’œuvre de Marguerite Duras a été reçu dans le monde littéraire contemporain chinois, en dressant un bilan de la réception de l’œuvre durassienne par le biais de la traduction, par la réception de l’écriture féminine, et par le renouvellement de l’art narratif et de la technique créative dans le monde littéraire contemporain chinois. L’étude de la réception de l’œuvre durassienne en Chine à travers l’écriture romanesque de certains écrivains contemporains chinois qu’elle a influencés permet un regard particulier et une autre compréhension possible sur Marguerite Duras<br>Studies on Marguerite Duras (1914-1996) in Both China and France are innumerable and abundant. By using the critical methods of literary comparison, textual analysis, feminism and autobiographical writing, etc, this thesis intends to make a survey of the reception of Duras in Chinese Contemporary literature, focusing on the aspects of translation studies, feminine writing, and narrative creativity. Meanwhile, studies on several Chinese writers deeply influenced by Duras can provide a unique perspective and different understanding to our research on this French writer
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Silva, Aline Fogaça dos Santos Reis e. "Giovanni Papini iconoclasta e religioso: diferentes fases da recepção do escritor florentino no Brasil." Universidade de São Paulo, 2017. http://www.teses.usp.br/teses/disponiveis/8/8148/tde-06062018-131836/.
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A trajetória literária de Giovanni Papini pode ser dividida em duas fases: a iconoclasta e a católica. A presente pesquisa tem como objetivo o exame da recepção do escritor florentino no Brasil, por meio de suas obras traduzidas para o português norma brasileira e pelo mapeamento de notas, resenhas, crônicas e artigos publicados em alguns dos principais periódicos nacionais. Em um primeiro momento, ele é lido e discutido, especialmente pelos intelectuais modernistas, no embate entre futurismo italiano e modernismo brasileiro; em um segundo, pelo viés da tradução, principalmente através das obras de temática religiosa. Como fundamentação teórica da análise, são abordados conceitos relacionados aos estudos da tradução, como polissistema literário, mecenato, reescrita e gatekeeping, desenvolvidos nos estudos de Itamar Even-Zohar, André Lefevere e Susan Bassnett. De igual forma, as relações que se estabelecem entre escritor e público-leitor são pensadas sob a perspectiva das teorias da estética da recepção relacionadas à história e à sociologia da literatura, nos estudos de Hans Robert Jauss e Regina Zilberman.<br>The literary career of Giovanni Papini can be divided into two phases: the iconoclast and the catholic. The present research aims to test the reception of the Florentine writer in Brazil, through his works translated into Brazilian Portuguese and by the survey of notes, reviews, short stories and articles published in some of the major national newspapers. In the beginning, he is read and discussed, especially by modernist intellectuals, in the clash between Italian Futurism and Brazilian Modernism; later, through the translation approach, mainly by religious themed works. As the theoretical foundation of the analysis, concepts relating to translation studies are discussed, as literary polysystem, patronage, rewritten and gatekeeping, developed in the studies of Itamar Even-Zohar, André Lefevere and Susan Bassnett. Similarly, relations that are established between writer and readers are thought from the perspective of the theories of aesthetics of reception related to the History and Sociology of Literature, in the studies of Hans Robert Jauss and Regina Zilberman.
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Soubigou, Gilles. "La littérature britannique et les milieux artistiques français ( 1789-1830). Réception, traduction, création : l'invention d'un imaginaire romantique." Thesis, Paris 1, 2016. http://www.theses.fr/2016PA01H003.
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Lieu commun au sein de l’historiographie de ce courant artistique et littéraire. En déplaçant le curseur chronologique pour étudier la période comprise entre 1789 et 1830, c’est-à-dire entre la fin de l’anglomanie d’Ancien Régime et la date consacrée du triomphe romantique en France, cette thèse s’intéresse aux conditions d’apparition de centaines d’œuvres empruntant leur sujet à un corpus d’une quarantaine d’auteurs britanniques, de Macpherson et Smith – qui dévoilent Ossian à l’Europe –, à Byron,Walter Scott et Shakespeare. Nombre de ces œuvres ont pu être localisées, ou sont connues par divers témoignages, et leur étude permet de constater l’hétérogénéité des profils, des formations, des styles et des motivations des artistes français ou présents sur le sol français qui s’intéressent à ces textes. En appliquant un schéma d’analyse conçu grâce à des outils forgés par les études de réception, les théories de la traduction ou la littérature comparée, il est possible de déterminer que la réception de textes littéraires dans les arts visuels procède en quatre temps distincts : diffusion, transposition, appropriation et répercussions. En étudiant chacune de ces phases et en replaçant la production des artistes en regard des enjeux socioculturels et économiques de leur temps, il en résulte moins une image d’Épinal d’un certain romantisme « frénétique » qu’un instantané de la profonde complexité de la scène artistique du temps, qui voit naître à la fois un imaginaire romantique et un romantisme imaginaire<br>Commonplace within the historiography of this artistic and literary movement. By moving the chronological cursor towards the 1789-1830 period, that is between the end of Ancien Régime anglomania and the accepted date of the romantic triumph in France, this dissertation deals with the conditions of appearance of hundreds of artworks borrowing their subjects from within a corpus of more than forty British authors, from Macpherson and Smith - who unveiled Ossian’s poems to Europe - toLord Byron, Sir Walter Scott and William Shakespeare. Many of these works of art could have been localised, or are known through various testimonies, and their study allows us to observe the heterogeneousness of the relevant artists’ profiles, trainings and motivations. By applying an analytical pattern designed to use tools forged by reception studies, translation theory and comparative literature, it is possible to determine that the reception of literary texts in the visual arts proceeds through four phases :diffusion, adaptation, appropriation and repercussion. Placing this artistic production within the sociocultural and economical context of its time reveals a less idealized image of some «gothic» romanticism, the deep complexity of the contemporary French artistic scene which sees the birth of bothromantic imagination and imaginary romanticism
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Miquel, Iriarte Marta. "The reception of subtitling for the deaf and hard of hearing: viewers’ hearing and communication profile & Subtitling speed of exposure." Doctoral thesis, Universitat Autònoma de Barcelona, 2017. http://hdl.handle.net/10803/403811.
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Per accedir al contingut audiovisual els espectadors amb sordesa han d'assimilar i integrar la informació que transmeten els subtítols i la imatge. Aquest procés implica una sèrie de complexos mecanismes cognitius i els factors que poden influir en ell són molts i variats.
En aquest estudi s'analitza la recepció de subtítols per a persones amb sordesa i dèficit auditiu entre tres tipus d'espectadors amb un perfil auditiu i comunicatiu diferent: oïdors, sords usuaris de la llengua oral i sords usuaris de la llengua de signes. L'objectiu principal és investigar com el perfil dels espectadors i la velocitat d'exposició dels subtítols afecten al procés de recepció. Es van analitzar tres tipus de subtítols amb diferents velocitats d'exposició: alta (amb una durada d'entre un i dos segons), mitjana (entre dos i quatre segons) i baixa (entre quatre i sis segons); exposats a un ritme de 15 caràcters per segon però amb una segmentació diferent. 72 persones van participar en l'estudi, veient dos clips de vídeo i contestant a una sèrie de preguntes. L'anàlisi es va dividir en tres fases. Mitjançant eye tracking, es van registrar els moviments oculars dels participants i es va analitzar la distribució d'atenció entre els subtítols i la imatge amb l'objectiu d'identificar els patrons de lectura i inspecció de la imatge (resposta). Mitjançant l'ús de qüestionaris, es va analitzar la seva habilitat per comprendre i deduir la narrativa i per recordar i processar la informació verbal i visual (reacció), així com la seva autoevaluació en referència a la facilitat i el temps de lectura i d'inspecció de la imatge (repercussió). També es va obtenir informació addicional sobre la mostra de participants: un qüestionari previ va recollir informació sobre aspectes auditius, educatius, lingüístics i comunicatius així com sobre hàbits de lectura i consum audiovisual -incloent un test de comprensió lectora- que va permetre assignar-los un perfil; i un qüestionari posterior, sobre la seva opinió i les seves preferències en relació amb les pràctiques actuals en subtitulació, incloent la velocitat. Els clips de vídeo eren fragments de pel·lícules de ficció amb diferents graus d'interacció entre el codi verbal i el visual. Amb l'objectiu d'explorar com els espectadors processen i prioritzen la informació en diferents tipus de contingut audiovisual, els dos clips presentaven una càrrega relativament alta de contingut verbal (diàleg continu) i una càrrega d'acció diferent en la imatge (nombre i tipus de plànols).
Els resultats confirmen que el perfil dels espectadors afecta a totes les fases de recepció. Sorprenentment, les diferències observades entre els dos grups amb dèficit auditiu són majors que les diferències entre aquests dos grups i el grup oïdor. L'ús de models lineals generalitzats en l'anàlisi estadística va permetre incloure la variable d'ajust «nivell de comprensió lectora», que va exercir un paper crucial en el procés de recepció. Els resultats indiquen que les diferències entre perfils, més que a factors auditius, lingüístics i comunicatius, podrien deure's al seu nivell de comprensió lectora. La velocitat d'exposició dels subtítols va influir en la distribució d'atenció entre els subtítols i la imatge (fase de resposta) però no en les fases de reacció i repercussió. Les diferències observades en la recepció dels dos clips -per part dels tres perfils i en totes les fases de l'anàlisi- suggereixen que la recepció depèn en gran mesura del tipus de contingut audiovisual que s'analitzi.<br>Para acceder al contenido audiovisual los espectadores con sordera deben asimilar e integrar la información que transmiten los subtítulos y la imagen. Este proceso implica una serie de complejos mecanismos cognitivos y los factores que pueden influir en él son muchos y variados.
En este estudio se analiza la recepción de subtítulos para personas sordas y con déficit auditivo entre tres tipos de espectadores con un perfil auditivo y comunicativo diferente: oyentes, sordos usuarios de la lengua oral y sordos usuarios de la lengua de signos. El objetivo principal es investigar cómo el perfil de los espectadores y la velocidad de exposición de los subtítulos afectan al proceso de recepción. Se analizaron tres tipos de subtítulos con diferentes velocidades de exposición: alta (con una duración de entre uno y dos segundos), media (entre dos y cuatro segundos) y baja (entre cuatro y seis segundos); expuestos a un ritmo de 15 caracteres por segundo pero con diferente segmentación. 72 personas participaron en el estudio, viendo dos clips de video y contestando a una serie de preguntas. El análisis se dividió en tres fases. Mediante eye tracking, se registraron los movimientos oculares de los participantes y se analizó la distribución de atención entre los subtítulos y la imagen con el objetivo de identificar los patrones de lectura e inspección de la imagen (respuesta). Mediante el uso de cuestionarios, se analizó su habilidad para comprender y deducir la narrativa y para recordar y procesar la información verbal y visual (reacción), así como su autoevaluación en torno a la facilidad y el tiempo de lectura y de inspección de la imagen (repercusión). También se obtuvo información adicional sobre la muestra de participantes: un cuestionario previo recogió información sobre aspectos auditivos, educativos, lingüísticos y comunicativos así como sobre hábitos de lectura y consumo audiovisual –incluyendo un test de comprensión lectora- que permitió asignarles un perfil; y un cuestionario posterior, sobre su opinión y sus preferencias en relación con las prácticas actuales en subtitulación, incluyendo la velocidad. Los clips de video eran fragmentos de películas de ficción con diferentes grados de interacción entre el código verbal y el visual. Con el objetivo de explorar cómo los espectadores procesan y priorizan la información en diferentes tipos de contenido audiovisual, ambos clips presentaban una carga relativamente alta de contenido verbal (diálogo continuo) y una carga de acción diferente en la imagen (número y tipo de planos).
Los resultados confirman que el perfil de los espectadores afecta a todas las fases de recepción. Sorprendentemente, las diferencias observadas entre los dos grupos con déficit auditivo son mayores que las diferencias entre ambos y el grupo oyente. El uso de modelos lineales generalizados en el análisis estadístico permitió incluir la variable de ajuste «nivel de comprensión lectora», que desempeñó un papel crucial en el proceso de recepción. Los resultados indican que las diferencias entre perfiles, más que a factores auditivos, lingüísticos y comunicativos, podrían deberse a su nivel de comprensión lectora. La velocidad de exposición de los subtítulos influyó en la distribución de atención entre los subtítulos y la imagen (fase de respuesta) pero no en las fases de reacción y repercusión. Las diferencias observadas en la recepción de los dos clips -por parte de los tres perfiles y en todas las fases del análisis- sugieren que la recepción depende en gran medida del tipo de contenido audiovisual que se analice.<br>Viewers with a hearing loss need to assimilate, process and integrate the information conveyed by the subtitles and the images in order to gain full access to audiovisual content. This process involves a set of complex cognitive mechanisms and the extent of factors that may affect it is large and varied.
This study investigates the reception of subtitles for the deaf and hard of hearing among three types of viewers with a different hearing and communication profile: hearing, deaf-sign language users and deaf-spoken language users. The main objective was to investigate whether and how participants’ profile and subtitling speed of exposure affect reception. Three versions of subtitles were analyzed according to its speed of exposure: high (with an average duration of between one and two seconds), medium (between two to four seconds) and low (between four to six seconds); with a different number of subtitles and segmentation and displayed at a rate of 15 characters per second. The analysis was divided into three stages and 72 participants took part in it by watching two videos and answering a set of questions. Participants’ eye movements were tracked and analyzed in terms of attention distribution between the subtitles and the image in order to identify patterns in their reading and viewing behavior (response). Their ability to understand and infer the narrative and to recall and process the verbal and the visual information was analyzed through questionnaires (reaction), as well as their self-assessment on the time and ease of reading the subtitles and viewing the image (repercussion). Background information was obtained through a set of prior and post questionnaires: the former collected data about participants’ hearing, education, language and communication aspects and reading and viewing habits –this part included a test to evaluate their reading skills— that allowed them to be allocated to a profile; the latter collected the opinion and preferences on current practices in subtitling, including speed. The two videos were selected from fiction films and showed different degrees of interaction between the verbal and the visual codes: they had a relatively high load of verbal content (continuous dialogue) but a different load of visual action (number and type of shots). The aim here was to explore how the different combination of verbal and visual information was processed and prioritized.
The results obtained in this study confirm that the viewers’ profile affected all the stages of reception. Surprisingly, more differences were observed between the two groups with hearing loss than between them and the hearing group. The use of generalized linear models in the statistical analysis allowed the inclusion of the variable of adjustment “reading skills”, which turned out to play a crucial role on the overall process of reception. Results indicate that differences between profiles might be more due to reading-related factors than to hearing, language and communication aspects. The subtitling speed of exposure influenced the distribution of attention between the subtitles and the image but did not affect significantly reaction and repercussion. Differences in the reception of the two videos were observed in the three profiles and in the three stages of reception, suggesting that reception is highly dependent on the type of audiovisual content used.
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Brembs, Gunhild. "Dialektelemente in deutscher und schwedischer Literatur und ihre Übersetzung : von Schelch zu eka, von ilsnedu zu bösartig." Doctoral thesis, Stockholms universitet, Tyska institutionen, 2004. http://urn.kb.se/resolve?urn=urn:nbn:se:su:diva-213.
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The present study investigates the translation of dialectal elements in literary texts from the German and Swedish linguistical and cultural areas. Translation theory generally advises against the translation of dialectal elements in standard language texts thereby implicitly questioning their creative and communicative function. The aim of the study is to investigate to what extent the dialectal elements in the source text are translated by corresponding dialectal elements in the target text thereby promoting a "cultural transfer" or whether a translation method based on translation theory is used. The linguistic material from the novels Die Räuberbande by the German author Leonhard Frank, Tjärdalen by the Swedish author Sara Lidman and Kapten Nemos bibliotek by the Swedish author Per Olov Enquist is microanalyzed. In doing so, the phonetical-phonological, morphological and syntactical dialectal features in the three source texts are treated methodically and are exemplarily and systematically presented together with their translation variants in the target language. The study focuses mainly on the translations of dialectal lexicology, which is investigated according to its contrastive function regarding the translations of standard language, thereby examining its adequacy. By including all the dialectal lexemes appearing in the works and their translations empirical dates have been compiled as a result of the translation methods. The study´s analyses demonstrate that dialectal elements are mainly translated into standard language, that a large part of dialectisms is paraphrased and that a small part is rendered by spoken language without regional limits. A tendency towards increasing use of dialectal elements through the times can be detected as well as a propensity to adapt the translation to the stylistical preferences in the receiving country. Thus, "cultural transfer" is not promoted.
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Zach, Matthias. "Traduction littéraire et création poétique : Yves Bonnefoy et Paul Celan traducteurs de Shakespeare." Thesis, Paris 3, 2011. http://www.theses.fr/2011PA030073.
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Les écrivains-traducteurs sont des acteurs essentiels de la vie littéraire, leur oeuvre exemplifiant les interactions complexes qui gouvernent la création littéraire et les formations culturelles en général. S’intéresser à leur travail permet d’articuler l’étude approfondie des textes et l’examen des dynamiques qui nourrissent les échanges culturels.La présente thèse de doctorat interroge l’œuvre de deux poètes-traducteurs emblématiques du XXe siècle : les traductions de Shakespeare d’Yves Bonnefoy et de Paul Celan sont présentées et analysées dans leur rapport au travail poétique mené par ces deux auteurs. L’étude se base essentiellement sur un choix de traductions, mais elle prend en compte également d’autres textes qui permettent de comprendre la réception de Shakespeare des deux poètes.Tandis que Celan insiste sur la différence irréductible entre l’original et la traduction, la réception de Shakespeare d’Yves Bonnefoy consiste en un mouvement d’identification. En revanche,le travail des deux écrivains-traducteurs est caractérisé par sa forte dimension autoréflexive : traduire Shakespeare permet à Bonnefoy et à Celan de développer leurs projets poétiques et de se positionner dans leurs propres contextes historiques. Chez les deux poètes, la traduction de Shakespeare aboutit à une fusion de voix spécifique, qui intègre Shakespeare dans l’univers poétique de l’écrivain traducteur<br>Author-translators are key actors of literary life, whose oeuvre exemplifies the complex interactions inherent in literary creation and in cultural formations in general. To concentrate on this figure makes it possible to combine close textual analysis with the investigation of the dynamics of cultural exchange.The present thesis studies the work of two emblematic 20th-century poet-translators: Yves Bonnefoy’sand Paul Celan’s Shakespeare translations are presented and analysed in their role for the poetics of both authors. The thesis draws essentially on close readings of a choice of translations, but it also takes into account other sources which help elucidate the Shakespeare reception of the two poets.While Celan insists on the irreducible difference between original and translation, Bonnefoy’s Shakespeare reception consists of a process of identification. For both poets, however, Shakespeare translation is essentially an auto-reflexive affair: through their confrontation with Shakespeare,Bonnefoy and Celan develop their poetic projects and position themselves in their own historical contexts. In both cases, therefore, Shakespeare translation results in a specific fusion of voices, which integrates Shakespeare into the author-translator’s own poetic universe
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Nascimento, Raquel Alves dos Santos. "Do exotismo à denúncia social: sobre a recepção de Quarto de Despejo, de Carolina Maria de Jesus, na Alemanha." Universidade de São Paulo, 2016. http://www.teses.usp.br/teses/disponiveis/8/8160/tde-16052016-135117/.
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Esse trabalho visa examinar o potencial e o impacto da recepção, na Alemanha, do livro Quarto de Despejo, de Carolina Maria de Jesus (Sacramento, 14 de março de 1914 São Paulo, 13 de fevereiro de 1977), valendo-se para tanto de resenhas de jornais alemães publicadas sobre a obra e a autora para reunir elementos que nos possibilitem entender como e por meio de quais recursos e agentes, a tradução de Quarto de despejo alcançou sete edições naquele país. A moldura teórica para a esta pesquisa fundamenta-se nos Estudos Descritivos da Tradução - (TOURY 1995), (LÉFEVÈRE, 1992) e a teoria dos polissistemas de Even-Zohar (1979); bem como o conceito de paratexto de Genette (1987) - que marcam na década de 1970 uma mudança na maneira de estudar e entender a tradução de literatura, depositando seu foco no produto do traduzir, em seu público alvo e recepção. Também pilar dessa pesquisa é o trabalho com o corpus que tem por base a Linguística de Corpus que viabilizou a identificação de palavras-chave nos textos estudados. Estas nos permitiram mapear eixos temáticos, a partir dos quais apontamos aqui algumas condicionantes da recepção da obra, tanto em uma perspectiva sincrônica ao examinar cada texto em particular, quanto diacrônica ao estudar a evolução de conceitos no tempo. Estas condicionantes evidenciaram, a partir da repercussão de Quarto de Despejo e de Carolina de Jesus, um deslocamento do interesse na recepção da literatura brasileira traduzida na Alemanha do exotismo para a denúncia social.<br>This paper aims at examining the potential and impact of the book reception Quarto de despejo (Child of the Dark) by Carolina Maria de Jesus (1914 1977) in Germany, by making use of German newspaper reviews published on the work and life of the author, in search of elements to understand how and by which resources and agents, the translation of Quarto de despejo hired seven editions in that country. The theoretical framework for this research is based on the Descriptive Translation Studies - (TOURY 1995), (LÉFEVÈRE, 1992), Even-Zohar\'s (1979) polisystems theory, Genette\'s (1987) paratext concept - and working with the corpus that is based on the Corpus Linguistics. The latter enabled the identification of key words in the studied texts, which allowed us to map out possible themes, from which we point out some conditions of the works reception, both on a synchronic perspective to examine each text in particular, and on a diachronic one to study the evolution of concepts in time. These conditions showed, based on the repercussion of Quarto de Despejo and its author Carolina Maria de Jesus, a transition on the brazilian literature reception interest in Germany from exotism to social denounce.
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Kipker, Sarah. "Medea: översättningar och omtolkningar : En receptionsstudie av Euripides drama mellan 1860 och 2016." Thesis, Uppsala universitet, Institutionen för arkeologi och antik historia, 2017. http://urn.kb.se/resolve?urn=urn:nbn:se:uu:diva-323790.
Full textAbstract:
Medea is, even though a mythological woman from ancient Greece, very popular today and her story feels modern, which many recent adaptations clearly prove. How can this ancient material be so applicable and thought-provoking to discuss today? This study shows how different translators and authors have interpreted and re-imagined Medea to make her feel relevant to their contemporary societies. Focus is put on Medea’s roles as a woman and a foreigner, because these aspects are especially relevant today. The following research compares three Swedish translations of Euripides Medea from 1860, 1931 and 2012 with each other and analyses three modern adaptations (a movie by Lars von Trier, a novel by Christa Wolf and a play by Viktor Tjerneld) to reveal similarities and differences in the reception of the ancient material. This is achieved by a close reading and analysis of the source material with a theoretical approach that focusses on classical reception and drama theory. The results show that the different translations only differ in nuanced details because all of them try to stay as true as possible to the ancient Greek original. Only the prefaces and character lists written by the translators reveal significant differences in the values that they express and that are signs of their contemporary societies. The modern adaptations offer more possibilities for changing the original depending on which aspects are important during the time of publication. The results show that Medea’s role as an independent woman is important today, but also that her role as a foreigner becomes even more significant as the debates about refugees are getting more evident in our society.