Dissertations / Theses on the topic 'Retranslation'

Thesis (Ph. D.)--State University of New York at Binghamton, Thomas J. Watson School of Engineering and Applied Science, Department of Systems Science and Industrial Engineering, 2008.
Includes bibliographical references.

Al-Munqidh mina al-Ḍalāl (Munqidh) is a well-known autobiography that was written by Abū Ḥāmid al-Ghazālī (d.505/1111), one of the most influential theologians and philosophers in medieval Islamic thought. This text has received much attention in the West since its re-discovering in the 19th century, but the conditions that have occasioned and influenced the translation and retranslation of it in English have not been explored in depth yet. This study aims to study five English translations of Munqidh in order to 1) locate them into the socio-cultural, political and historical conditions that have occasioned and shaped their production and reception in English; 2) to determine the reasons behind choosing Munqidh to be translated for the first time in English and the reasons why other translators later retranslated it into the same language; 3) to determine the different strategies each translator develops to establish his translation in the receiving system field; 4) to identify and discuss the representations the producers of this text created about al-Ghazālī and Munqidh in the receiving culture, and 5) to assess to what extent the Retranslation Hypothesis, which states that retranslations emerge to restore previous translations and bring them closer to the source text and culture, can be confirmed by the data of Munqidh and its five English translations.

The phenomenon of retranslation (the repeated translation of a given work into a given target language) is widespread in practice, and yet its motivations remain relatively underexplored. One very prevalent justification for this repetitive act is encapsulated in the work of Antoine Berman who claims that an initial translation is necessarily 'aveugle et hésitante' (1990: 5), while retranslation alone can ensure 'la « révélation » dřune oeuvre étrangère dans son être propre à la culture réceptrice' (1995: 57). This dynamic from deficient initial translation to accomplished retranslation has been consolidated into the Retranslation Hypothesis, namely that 'later translations tend to be closer to the source text' (Chesterman, 2004: 8, my emphasis). In order to investigate the validity of the hypothesis, this thesis undertakes a case study of the British retranslations of Flaubert's Madame Bovary and Sand's La Mare au diable. A methodology is proposed which allows the key notion of closeness to be measured on both a linguistic and a cultural axis. Given Flaubert's famous insistence on 'le mot juste', Madame Bovary serves as a basis for an examination of linguistic closeness which is guided by narratology and stylistics, and underpinned by Halliday's (2004) Systemic Functional Grammar. On the other hand, Sand's ethnographical concerns facilitate a study of cultural closeness: here, narrativity (Baker, 2006) informs an analysis of how Berrichon cultural identity is mediated through retranslation. In both cases, the thesis draws on paratextual material (Genette, 1987) such as prefaces and advertisements, and on extra-textual material, namely journal articles and reviews, in order to locate specific socio-cultural influences on retranslation, as well as highlighting the type and extent of interactions between the retranslations themselves. Ultimately, this thesis argues that the Retranslation Hypothesis is untenable when confronted with the polymorphous behaviour of retranslation, both within and without the text.

This dissertation is a study of experimental retranslations of ancient Greek, Latin, and Classical Chinese lyric poetry by contemporary Anglophone poets. It is a contribution to the field of Translation Studies and the developing study and practice of Retranslation. The emerging field of Translation Studies has only begun to consider critically the phenomenon of retranslation, but these existing studies address retranslations of ancient Classical texts in passing, and only as far as to consider their role in canon formation, re-animating an older retranslation’s outdated language, correcting a previous version’s textual errors, and replacing an old version with a superior one. Studies of the useful contributions that experimental retranslations of Classical texts offer for re-evaluating the ancient originals have been altogether absent. A cross-cultural study such as my own acknowledges the recent surge in interest in Western Classics from Chinese readers and the globalization of Greco-Roman Classics as evidenced by efforts to translate the corpora of Vergil and Ovid into Chinese for the first time. My dissertation focuses on the 85 project’s experimental retranslations of Tang dynasty (618–907 CE) poetry by Wang Wei 王維 (699–759 CE), Li Bai 李白 (701–762 CE), and Du Fu 杜甫 (712–770 CE), Brandon Brown’s retranslations of poems 85 and 99 by Republican Roman poet Catullus (85–54 BCE), and Anne Carson’s “A Fragment of Ibykos Translated Six Ways” (5th c. BCE). My chapters each perform close readings and textual analysis, identify the unconventional retranslation strategies at work, and demonstrate how these strategies retain some core gestures of the original poem in retranslation. I project a future direction of experimental retranslation practice in a rapidly changing field, and a re-evaluation of how readers and writers might think about the possibilities in retranslating ancient Classical texts. I propose that these experimental retranslations offer the contemporary reader new ways of connecting with and appreciating the original text by expanding conventional expectations of what is traditionally acceptable in the practice of translation. Traditional Classical translation strategies favour focusing on a poem’s content and subject matter, usually including some representation of meter and form in a word-for-word and sense-for-sense production. The experimental retranslations I address in my study retranslate something other than the words and sense, going so far as to bring into English such elements as the vertical reading orientation of Classical Chinese poetry and a poem’s structural, rhetorical features, not its words or subject matter. Ultimately, this study shows how contemporary readers can be surprised by antiquity via fresh retranslations, and calls for collaboration among translators, creative writers, and academic scholars.

The thesis aims to examine the phenomenon of retranslation as a socially situated activity. It provides an evidence-based approach to the practice of literary retranslation in Arabic-speaking countries, a cultural space that has not been examined thoroughly and systematically. This thesis goes beyond established research and compelements existing studies by highlighting the importance of ascertaining the details beyond theoretical issues related to retranslation using the support of textual, paratextual and contextual evidence from a comparative analysis of a number of translations. Through a text-based analysis of the translations and a reassessment of the recent literature on retranslation, the thesis scrutinizes how the motivation for retranslation can be explained by adopting multiple sociological perspectives. The main theoretical framework is premised on Pierre Bourdieu’s theory and the sociology of Paratranslation. These perceptions of translational activities combine together thus providing a solid theoretical framework for analysing and understanding the phenomenon of retranslation. Four translations of the novel Great Expectations (1861), written by Charles Dickens, acknowledged as the most accomplished, celebrated, and successful novelist of the prolific 19th-century English literature, have been selected as a case study of retranslation for Arabic-speaking audiences. The study provides textual and paratextual analysis of the retranslations in question and describes the influence of the socio-cultural conditions on translation in Arabic-speaking countries. The study tests the validity of the Retranslation Hypothesis to explain the phenomenon of retranslation and demonstrates that both linguistic factors and sociological influences play a key role in motivating the repetitive act of retranslation. This research proposes a new interpretation of the phenomenon in the light of multiple sociological theories. Such theories are revisited to provide a sociological understanding of the phenomenon, as a way of providing an alternative interpretation to existing views on retranslation.

This thesis seeks to advance a new hypothesis for addressing retranslations, namely that the traditional explanation according to which translations become outdated and must be renewed can no longer account for all the aspects of the retranslation phenomenon. I propose to view retranslation as a means of transforming documents into monuments, of unearthing the mass of elements they contain and of making them relevant to the present and to the future. Retranslations become a source of inspiration for original philosophical texts, hence new philosophical trends or schools of thought, and for commentaries on the translation and its agents, all of which reflect the place and time where they emerge, thus shaping symbols of self-representation, collective consciousness, memory, and identity. I test this hypothesis through the exploration of 20th century Modern Greek retranslations of Plato’s Republic and through the examination of the diachronic and synchronic values of key political and philosophical elements of Plato’s system within the retranslations. These retranslations reflect not only how Plato’s philosophy is perceived by the modern Greek philosophical and political environment, but also whether they represent and prolong the canonical discourse on classical philosophy or introduce a more critical turn. I explore a case of a philosophical text whereby key elements of the Republic become a source of inspiration to answer basic questions of justice and polity from a modern point of view. I conclude that retranslations project the aspirations, fears, and values of the time and space in which they emerge while using the openness of the text to add extra layers of interpretation and meaning. Almost all retranslations and their corresponding paratext maintain a consistent referential relationship with one another and with other political and philosophical texts produced during the same period. The link that ties these texts together is not necessarily chronological. It also depends on the discursive approach adopted; the translator’s political or philosophical affiliation; the degree of canonicity of each translation and translator, and the prevailing ideologies of the society in which retranslations emerge. A classical work can become either a vibrant document used to promote, sustain, and revive dominant discourses on politics, national identity or philosophy or, alternately, a reactionary document that voices concerns over the relevance of the canonical or traditional discourse with which the original is equated.

Denna studie syftar till att se vilka skillnader som går att urskilja mellan tre olika svenska översättningar av Arthur Conan Doyles A study in scarlet. Vidare syftar studien också till att se hur dessa skillnader förhåller sig till den så kallade nyöversättningshypotesen, som menar att varje ny översättning blir allt mer lik källtexten, samt de olika översättningsideal som varit norm under respektive tillkomsttid. Genom dels en kvantitativ analys och dels kvalitativ närläsning studeras språkliga, kulturella och övriga faktorer. Studien visar att nyöversättningshypotesen främst går att verifiera gällande språkliga faktorer och att samtliga översättningar till stor del speglar sina respektive samtiders översättningsideal. Det gör att lärare i de flesta fall kan välja översättningar efter hur bra deras respektive samtidsideal passar läsningens didaktiska syfte. Studien visar också på olika aspekter i A study in scarlet som i översättning försvårar läsarens förståelse av texten, vilket också är nyttigt för lärare att vara medvetna om i val av utgåva.

Baudelaire dedicou-se a Mon coeur mis à nu de 1859 a 1865. Tendo no horizonte as Confessions de Jean-Jacques Rousseau e o projeto nunca realizado My heart laid bare, de Edgar Allan Poe (de onde, aliás, o título Mon coeur mis à nu), Baudelaire tem consciência de que a realização do seu projeto não será fácil, expressando a dificuldade, e por vezes a própria sensação de impossibilidade, em muitas das suas cartas pessoais. Baudelaire morre em 1867, não concluindo o projeto. O que deixa são notas, planos de texto, parágrafos avulsos, trechos a serem incluídos em textos futuros, listas de assuntos a tratar. Poulet-Malassis, amigo e principal editor de Baudelaire, fica encarregado de ordenar e encadernar os manuscritos referentes a Mon coeur mis à nu. Já a primeira publicação integral ficará a cargo de Eugène Crépet, que escolhe chamar o texto, se é texto, de Journaux intimes, interpretando (erroneamente) um projeto literário, ou, em certo sentido, um texto literário em processo de escritura, como diário. No Brasil, dispomos de quatro (re)traduções: Meu coração desnudado (Nova Fronteira, 1981), de Aurélio Buarque de Holanda; Meu coração a nu (Nova Aguilar, 1995), de Fernando Guerreiro; Meu coração desnudado (Autêntica, 2009), de Tomaz Tadeu; e Diários íntimos (Caminho de Dentro, 2013), de Jonas Tenfen. Este trabalho tem como objetivo central a análise dessas (re)traduções. Pretende-se discutir ainda a noção de retradução nos estudos da tradução, percorrendo autores como Berman (1990), Gambier (1994; 2012), Ladmiral (2012) etc.; e revisar a crítica literária sobre Mon coeur mis à nu, buscando problematizar tanto a postura de enxergá-lo como diário íntimo quanto a tendência de encerrá-lo em uma poética do rascunho (DIDIER, 1973) relativamente estanque e estável. Compreendendo a retradução como um espaço ético (CARDOZO, 2007) de relações (tensas) entre modos de ler e dizer o texto, buscamos identificar as posturas tradutórias em jogo em cada (re)tradução brasileira, isto é, de que maneira entendem e dão a ver Mon coeur mis à nu no sistema literário brasileiro. Para isso, recorremos não somente às próprias (re)traduções, mas também ao material paratextual (RISTERUCCI-ROUDNICKY, 2008), lugares em que os tradutores apresentam mais explicitamente seus entendimentos não apenas do texto em tradução, mas do próprio ato tradutório. Identificando em Mon coeur mis à nu uma textualidade altamente movente, fundamentada em tensões insolúveis (projeto e obra; processo e texto), percebemos que as (re)traduções brasileiras atenuam, ou mesmo apagam, essas tensões, fazendo escolhas tradutórias e editoriais que homogeneízam o texto, suprimem suas variabilidades e virtualidades e inscrevem Mon coeur mis à nu na memória do diário íntimo, da escritura puramente confessional, cujo valor reside mais no pessoal do que nas suas tensões e contradições, latências e potencialidades. Apontamos, como desdobramento, a necessidade de uma (re)tradução brasileira que se baseie exatamente na dimensão processual e variável de Mon coeur mis à nu, não na busca de restituir um suposto processo cronológico, mas na tentativa de construir, via tradução, um espaço escritural (GALÍNDEZ-JORGE, 2009) em que o leitor possa ser confrontado exatamente com esse assombramento e com essa monstruosidade (GALÍNDEZ-JORGE, 2010) que estão (em latência) na base mesma de Mon coeur mis à nu.
Baudelaire dedicated himself to Mon coeur mis à nu from 1859 until 1865. With the horizons of Jean-Jacques Rousseaus Confessions and the always unconcluded Edgard Allan Poes project My heart laid bare (from where Mon coeur mis à nus title comes, by the way), Baudelaire is aware that the accomplishment of his own project will not be easy, and he expresses it, sometimes, by writing down the very sense of impossibility in many of his personal letters. Baudelaire dies in 1867, leaving his project unconcluded. What remains are notes, scraps, unattached paragraphs, sequences to be included in future texts, subject lists do be dealed with. Poulet-Malassis, Baudelaires friend and main editor, was in charge of giving order to and binding the manuscripts referring Mon coeur mis à nu. The first full edition, however, was treated by Eugène Crépet, that chooses to call the text, if so, Journaux intimes, interpreting (mistakenly) it as a literary project or, in a certain way, a literary text in progress of being written, like a journal. In Brazil, we are offered with four (re)translations: Meu coração desnudado (Nova Fronteira, 1981), by Aurélio Buarque de Holanda; Meu coração a nu (Nova Aguilar, 1995), by Fernando Guerreiro; Meu coração desnudado (Autêntica, 2009), by Tomaz Tadeu; and Diários íntimos (Caminho de Dentro, 2013), by Jonas Tenfen. The present work aims mainly to analyze these (re)translations. It is also intended to (a) discuss the notion of retranslation in translation studies, by means of authors such as Berman (1990), Gambier (1994; 2012), Ladmiral (2012) etc., and (b) to review the literary criticism on Mon coeur mis à nu, trying to question both the attitude of interpreting it as an intimate journal and the tendency to categorizing it definitely as a draft poetics (DIDIER, 1973), relatively impervious and stable. If retranslation is believed to be an ethical space (CARDOZO, 2007) of (tense) relations among ways of reading and saying the text, we seek to identify the translation attitudes at stake in each Brazilian (re)translation, that is, answering in which way they understand and reveal Mon coeur mis à nu at the Brazilian literary system. For this purpose, we employ not only (re)translations themselves, but also paratextual materials (RISTERUCCI-ROUDNICKY, 2008), places where translators present more explicitly their comprehension of the translation in progress, but also of the translational gesture itself. Identifying in Mon coeur mis à nu a highly moving textuality, based in unsolvable tensions (project and work; process and text), we do realize that Brazilian (re)translations mitigate, or even erase, these tensions, making translational and editorial choices that homogenize the text, suppress their variabilities and virtualities, and inscribe Mon coeur mis à nu in the memory of the intimate journals, of the purely confessional writings, whose value resides more in the personal aspect than in its tensions and contradictions, latencies and potentialities. As an unfolding of this analysis, we point out the need of a Brazilian (re)translation based exactly on the procedural and variable dimension of Mon coeur mis à nu, not in quest of restoring an allegedly chronological process, but as an attempt of building, through translation, a scriptural space (GALÍNDEZ-JORGE, 2009) in which the reader can be confronted precisely with this haunting and with this monstrosity (GALÍNDEZ-JORGE, 2010) that are (latently) in Mon coeur mis à nu basis itself.

Research within translation characterises cultural references as being problematic for translators, meaning they must choose between different translation strategies as to how to transfer these references into the translated text. These strategies are often described in general terms according to how closely oriented they are to the target-culture or source-culture, known as domestication or foreignisation. Translation of literature into English is minimal in world terms and there is seemingly a lack of statistically comparable data concerning the translation of cultural references. This study investigates and compares translation strategies of words denoting cultural references in two translations of the 1998 Swedish Nordic Noir novel Sprängaren by Liza Marklund. The methodology in the study is based on descriptive translation studies, and a categorisation model for types of cultural references is used, as well as an adapted taxonomy model for evaluating translation strategies. Issues addressed are: what types of strategies are used; whether strategies change between translations; how the second translation stands in relation to the retranslation hypothesis and whether any general translation norms are apparent. Results show that a wide variety of translation strategies are used for different types of cultural references, with subtle differences in strategies used in each translation. However, both translations appear to be more domestication-oriented with little overall movement towards to the source culture, as the retranslation hypothesis suggests.

In recent times, situational judgment tests (SJTs) have emerged as an instrument of choice in organizations. This emergence is partly due to the high costs associated with developing and conducting high fidelity simulations such as assessment centers, coupled with the recent economic downturn affecting many organizations. The current study sought to validate an SJT as a low cost, alternate form of assessing leadership within an organizational context. A content validation study was carried out by retranslating items into eight dimensions and calibrating item responses. This study resulted in a content valid measure of leadership knowledge. Future studies should focus on further evaluating the psychometric properties of this new leadership assessment. Alternate forms reliability, convergent validity, and divergent validity studies, in particular, should be conducted to evaluate the new test.

Este trabalho propõe-se a estabelecer e a examinar a relação entre duas traduções do romance São Bernardo de Graciliano Ramos: uma em língua inglesa e outra em língua francesa. Separadas pela língua e pelo intervalo de onze anos, nossa tese é de que a tradução inglesa se constitui uma tradução modelo e, a francesa, uma tradução informada. Os conceitos de tradução modelo e tradução informada foram criados por nós para atender às necessidades de nossa pesquisa; o primeiro nos foi inspirado pela leitura das correspondências entre Guimarães Rosa e seu tradutor alemão Curt-Meyer-Clason (1963 e 1965), enquanto o segundo foi desenvolvido a partir dos conceitos de primeira tradução, e de retradução, lançados por Antoine Berman (1990). Como fio condutor da discussão sobre esses textos que habitam três línguas-cultura distintas, lançou-se mão dos marcadores culturais a fim de estabelecer de que maneira e em que níveis a tradução inglesa informa a tradução francesa.
This study aims to establish and examine the relationship between two translations of the novel São Bernardo by Graciliano Ramos: one in English and the other in French. Separated by language and by an interval of eleven years, our thesis is that the English translation is a model translation, while the French one is an informed translation. This study develops the concept of model translation with the aid of the correspondence exchanged by Guimarães Rosa and his German translator Curt-Meyer-Clason (1963 and 1965). The theory of the informed translation, in turn, was developed from the concepts of first translation and retranslation, coined by Antoine Berman (1990). Cultural markers were employed as the axis of discussion about these texts that inhabit three distinct languages-cultures, in order to establish in what way and to what extent the English translation informs the French translation.

O principal objetivo deste trabalho é verificar quantitativamente a chamada hipótese da retradução de Berman (1990), através do Método das Modalidades de Tradução (MMT), elaborado por Aubert (1977, 1998), derivado do modelo pedagógico de procedimentos técnicos da tradução de Vinay e Darbelnet (1958), num estudo de caso de duas traduções para a língua inglesa do livro A Paixão Segundo G. H., escrito por Clarice Lispector em 1964, traduzido por Ronald W. de Sousa, em 1988 e retraduzido por Idra Novey, em 2012. A fundamentação teórica discorre sobre os conceitos de domesticação e estrangeirização, segundo Venuti, e sobre o percurso da retradução, desde 1990 até nossos dias. Também são comentados a vida e a arte de Clarice Lispector, bem como seus dois tradutores. Os trabalhos de Hélène Cixous e Benjamin Moser são relacionados aos possíveis motivos para a retradução. O MMT é apresentado e explicado. A comparação intuitiva sugeriu que as duas traduções pareciam muito literais, com algumas diferenças possivelmente devidas à subjetividade dos tradutores e exigências dos editores. Entretanto, o MMT, em uma amostra de 542 palavras, mostrou que a quantidade de domesticação na tradução foi estatisticamente mais alta do que na retradução, não rejeitando, portanto a hipótese de Berman.
This dissertation aims to quantitatively verify Bermans hypothesis of retranslation by describing and applying Auberts (1977, 1989) Method of Modalities of Translation (MMT), derived from Vinay and Darbelnets pedagogical model of technical procedures of translation (1958), in a case study of two English translations of The Passion According to G.H., by Clarice Lispector. The original was written in 1964, the first translation was made in 1988 by Ronald W. de Sousa, and the retranslation in 2012 by Idra Novey. The theoretical framework presents Venutis concepts of domestication and foreignization and the history of ideas on retranslation, from 1990 to the present. Clarice Lispector, the woman, and the writer, as well as its translators are described and commented on. Hélène Cixous and Benjamin Mosers works are presented as related to the motives of the retranslation. The Method (MMT) is presented and explained. Both translations seemed very literal with some differences possibly due to the translators subjectivity and demands of the editors. However, in a sample of 542 words the amount of domestication in the translation was statistically higher than in the retranslation and therefore in line with Bermans hypothesis.

Au tournant des années 2000, l’arrivée sur les écrans d’adaptations d’œuvres de fantasy et leur réception plus que favorable semblent avoir initié un tournant dans la réception du genre en France. Sur le marché du livre notamment, la production d’œuvres nouvelles, majoritairement anglo-saxonnes d’origine, atteint chaque année de nouveaux sommets ; parallèlement à cette course en avant, nombre d’éditeurs investissent de plus en plus dans le passé tandis que se multiplient rééditions, révisions mais aussi traductions inédites et retraductions de titres anciens, apparemment considérés comme des classiques indiscutables.Notre thèse s’est fixée pour but d’interroger les réalités derrière cette apparente abondance, en plaçant au cœur de son approche l’examen de ces retraductions qui semblent aujourd’hui vouloir instituer un véritable patrimoine de la fantasy. D’abord au niveau éditorial, en considérant le passage du genre entre le monde culturel anglo-saxon et celui de la France, les changements dans la réception hexagonale ainsi que l’évolution des conditions de travail des traducteurs. Ensuite et surtout au niveau textuel, en opposant les déclarations aux actes, à travers la comparaison de ce que les premières et secondes traductions choisissent de faire du Seigneur des anneaux, de Conan, de la Roue du Temps et des Chroniques de Dragonlance
At the turn of the 21st century, the arrival on screens of several fantasy adaptations and their tremendous success seem to have been a turning point in the reception of the genre in France, especially in the book market where the production of new novels – mostly of Anglo-Saxon origin – is reaching new heights every year. As they kept looking toward the future, many publishers have also been investing more and more in the past of the genre, publishing reissues and revisions but also first translations and retranslations of old titles, now considered as indisputable classics.This thesis aims to question the realities behind such a vision of abundance, by placing at the heart of its approach a careful examination of those retranslations that are slowly creating what could be considered the heritage of the fantasy genre. First, it will examine the editorial side of the phenomenon – the transition of the genre from the Anglo-Saxon cultural world to the French, the changes in its reception and the evolution of the working conditions of translators. Then it will turn to the textual level, opposing statements to acts by comparing what first and second translations have chosen to do with books such as The Lord of the Rings, Conan, The Wheel of Time and the Dragonlance Chronicles

Den här masteruppsatsen består av fyra delar: en nyöversättning från engelska till svenska av ett utdrag ur Charlotte Brontës roman Shirley (1849), en översättningskommentar som går igenom ett antal problemområden, en språklig undersökning samt ett avsnitt om nyöversättning. Den språkliga undersökningen utgörs av en jämförelse mellan användningen av pronominella adverb i uppsatsens översättning av Shirley och i den äldre svenska översättningen från 1854. Studien fokuserar på adverb med förleden där- och var-. Nyöversättningsavsnittet består av en sammanställning av forskningsläget, erfarenheter från nyöversättningen av Shirley samt intervjuer med översättarna Kerstin Gustafsson och Gun-Britt Sundström. I avsnittet redogörs för förlagens, översättarnas och mottagarnas perspektiv på nyöversättning. Dessutom behandlas hur begreppen ”foreignization” och ”domestication” kan appliceras på nyöversättningar samt hur källtexten och dess nya och gamla översättningar påverkar varandra.
This master thesis consists of four parts: a retranslation from English to Swedish of an extract from Charlotte Brontë’s novel Shirley (1849), a theoretical comment on the translation dealing with some of the translation problems, a linguistic study, and a section on retranslation. The linguistic study compares the use of pronominal adverbs in the retranslation of Shirley and the old translation from 1854. The study focuses on adverbs with the prefixes där- and var-. The section on retranslation consists of a compilation of current research, observations from the process of retranslating Shirley, and interviews with two translators, Kerstin Gustafsson and Gun-Britt Sundström. The section describes the publishers’, the translators’ and the recipients’ perspectives on retranslation. In addition, it is discussed how the two concepts “foreignization” and “domestication” can be applied to retranslations, and how the source text and its old and new translations influence each other.

Aquest estudi analitza les (re)traduccions al xinès de novel•la clàssica anglesa en relació als canvis d’estratègia traductora i el boom retraductor dels anys 90. L’estudi es divideix en dos períodes: economia planificada i economia de mercat, i es centra en dos estudis de cas, Orgull i Prejudici de JaneAusten i David Copperfield de Charles Dickens, i en les seves (re)traduccions al xinès. Es comparen les diferents versions en relació a la seva exactitud semàntica i formal mitjançant anàlisis qualitatiu i quantitatiu. A continuació es realitza una anàlisis del mercat traductor i les polítiques governamentals que pugin donar raons dels canvis observats.
Este estudio analiza las (re)traducciones al chino de novela clásica inglesa en relación a los cambios de estrategia traductora y el boom retraductor de los años 90. El estudio se divide en dos períodos: economía planificada y economía de mercado y se centra en dos obras, Orgullo y Prejuicio de Jane Austen y David Copperfield de Charles Dickens, y sus (re)traducciones al chino. Se comparan las diferentes versiones en relación a exactitud semántica y formal mediante análisis cualitativo y cuantitativo. Se procede luego a un análisis del mercado traductor y las políticas gubernamentales que justifiquen los cambios observados.
The research deals with Chinese (re)translations of classic English novels with special reference to changes in translation strategy as well as the retranslation boom in the 1990s. It divides the period into the planned-economy period and the market-economy period. The object of study arePride and Prejudice by Jane Austen and David Copperfield by Charles Dickens, with their Chinese (re)translations of the 50s and 90s. Comparative and descriptive methods are employed to with respect to formal and semantic accuracies, which are analyzed through quantitative and qualitative analyses. The study, then, goes from the text to the translation market to explore the reasons for the changes in translation strategy and the causes of the (re)translation boom from a sociocultural perspective, with special reference to government policy.

Esta tese apresenta um panorama detalhado da história de adaptações de Dom Quixote no Brasil (1886-2013), ressaltando as dez adaptações mais publicadas nesses 127 anos: Carlos Jansen (1886); Monteiro Lobato (1936); Orígenes Lessa (1970); José Angeli (1985); Ferreira Gullar (2002); Walcyr Carrasco (2002); Leonardo Chianca (2005); Rosana Rios (2005), Ana Maria Machado (2005) e Fábio Bortolazzo Pinto (2008), abrangendo questões historiográficas e seus agentes, incluindo as biografias de adaptadores, alguns deles entrevistados. O objetivo deste estudo multidisciplinar é iniciar um exame da relação controversa entre retraduções de clássicos da literatura infantojuvenil. Faremos referência aos Estudos de Tradução, especialmente a críticos da área de Retradução (Antoine Berman, Yves Gambier, Anthony Pym, Koskinen e Paloposki entre outros), aos estudos da escola de manipulação (Lefevere) e aos Estudos de Adaptação (Milton, Hutcheon e Sanders). A análise também leva em conta as peculiaridades da tradução de literatura infantil (OSullivan, Lathey, Soriano), e estudos sobre o Quixote realizados por hispanistas como Edward Riley, Anthony Close, Erich Auerbach e Maria Augusta da Costa Vieira. Para a análise descritiva comparativa dos dez textos ficcionais, criamos uma ferramenta: Tabela Analítica Ponderada, e analisamos os elementos paratextuais segundo os estudos de Genette e Gürçalar. Essas reescrituras coexistem com outras edições, como aquelas lançadas pelas comemorações do 400o aniversário do Quixote (2005 e 2015), que deram um impulso considerável para a indústria editorial, resultando em dezenas de novas publicações sobre o famoso romance espanhol e outros livros de Cervantes, incluindo novas adaptações e reimpressões de obras em prosa, quadrinhos e cordel, e versões estrangeiras traduzidas, como pode ser visto no catálogo anexo de 325 publicações, das 74 diferentes adaptações do Quixote.
This thesis provides a detailed overview of the history of adaptations of Don Quijote in Brazil (1886-2013), focusing on the ten most published adaptations during those 127 years: Carlos Jansen (1886); Monteiro Lobato (1936); Orígenes Lessa (1970); José Angeli (1985); Ferreira Gullar (2002); Walcyr Carrasco (2002); Leonardo Chianca (2005); Rosana Rios (2005), Ana Maria Machado (2005) and Fabio Bortolazzo Pinto (2008), and covering historiographical issues and their agents, including the biographies of adapters, some of them interviewed. The aim of this multidisciplinary study is to initiate an examination of the controversial relationship between retranslations and retranslations of adults classics for children. In carrying out such an examination, reference will be made to Translation Studies, especially critics discussing Retranslation (Antoine Berman, Yves Gambier, Anthony Pym, Koskinen and Paloposki among others), the studies of the Manipulation School (Lefevere) and Adaptation Studies (Milton, Hutcheon, and Sanders). The analysis will also take into account the peculiarities of childrens literature translation (OSullivan, Lathey, and Soriano) and studies about Don Quijote, using Cervantess critics as Edward Riley, Anthony Close, Erich Auerbach and Maria Augusta da Costa Vieira. For the comparative descriptive analysis of the ten fictional texts, we create a tool: the Analytical Weighted Table, and the paratext elements\' study follows Genette and Gürçalar studies. These rewritings coexist alongside with other editions, as the celebrations of Don Quixotes 400th anniversary (2005 and 2015) gave considerable impetus to the publishing industry and resulted in dozens of new publications regarding the famous novel and other Cervantes books, including new adaptations and reprints of works in prose, comics and cordel, and translated foreign versions, as can be seen in the annexed catalogue of 325 publications of the 74 different Quixotes adaptations.

As histórias em quadrinhos japonesas, conhecidas como mangás, vêm se popularizando muito fora do Japão nas últimas décadas. Partindo de uma abordagem que, nos estudos da tradução, considera a relevância de também se estudar os contextos e fatores externos ao texto, analisamos em nossa pesquisa a tradução para expressões de tratamento japonesas presentes nos mangás Love Hina, Yu Yu Hakusho e Chobits, publicados no Brasil no início dos anos 2000, quando o mercado de histórias quadrinhos japonesas ainda estava se estabelecendo no país, e que, uma década depois, foram reeditados pela mesma editora, mas com a tradução revisada. Questionamos se a experiência acumulada com a prática regular envolvendo a publicação de mangás, a consolidação de uma cultura do mangá no Brasil e consequente formação de um público leitor mais acostumado com características e especificidades do gênero trazem reflexos que são perceptíveis na tradução, veríficáveis por meio das estratégias de tradução empregadas.
Japanese comics, known as manga, have become very popular outside Japan in the last few decades. Based on an approach that in the translation studies considers the relevance of also studying the contexts and factors external to the text, we analyzed in our research the translation for japanese treatment expressions present in Love Hina, Yu Yu Hakusho and Chobits, manga published in Brazil in the early 2000s, when the japanese comic book market was still settling in the country; a decade later these manga were reprinted by the same publisher, but with a revised translation. We question whether the regular practice involving the publication of manga, the consolidation of a manga culture in Brazil and the consequent formation of a readership more accustomed to characteristics and specificities of the genre brings reflexes that are perceptible in translations, verifiable by means of translation strategies employed.

El presente trabajo examina las estrategias traductoras utilizadas en la traslación al español de los topónimos y los conceptos referentes al patrimonio cultural y la naturaleza, es decir, los culturemas del relato sueco El maravilloso viaje de Nils Holgersson a través de Suecia escrito por Selma Lagerlöf. Dos traducciones surgidas en diferentes contextos sociohistóricos en España son contrastadas con el objetivo de determinar de qué manera divergen. Los resultados muestran que la primera traducción en gran medida adapta los conceptos específicos para Suecia al ambiente sociohistórico y natural reconocibles para el lector español. La segunda traducción, al contrario, lleva al lector hispanohablante conceptos que le podrían resultar exóticos. Los topónimos son adoptados sin grandes modificaciones. Aun así, ninguno de los traductores se ajusta a seguir una línea coherente de traducción, el hecho que se puede explicar por la pertenencia del relato al género de la literatura juvenil cuyos objetivos son tanto educar como entretener.
The present study examines the patterns used in the translation into Spanish of some Swedish place names and cultural and natural characteristics in Selma Lagerlöf’s novel The wonderful adventures of Nils. Two translations that emerged in different socio-historical contexts in Spain are compared in order to determine how they diverge. The results show that the first translation largely adapts the Sweden-specific concepts to the notions that are recognizable by the Spanish reader. The second translation, on the contrary, offers to a greater extent culture-specific phenomena to its readers. Place names are mainly adopted without modifications. Despite this, both translators rather use a strategy mix in order to adjust the text to its juvenile audience and to preserve both the didactic and the entertaining values of the Swedish text.

Cette thèse vise à analyser quatre traductions du roman de Walter Scott Quentin Durward (1823) par le même traducteur, Auguste-Jean-Baptiste Defauconpret. Nous proposons de déterminer si ce traducteur est intervenu seul dans le processus de retraduction, si les trois versions françaises postérieures à la première traduction de 1823 sont de véritables retraductions ou de simples révisions, et si les modifications successives apportées à la première traduction vont dans le sens d’un rapprochement vers le texte source. La première partie de la thèse est dédiée, tout d’abord, aux concepts traductologiques, et plus particulièrement au phénomène de retraduction dont nous faisons l’état des lieux avant d’évoquer les théories de Brownlie et de Koskinen et Paloposki, puis d’envisager les raisons qui peuvent motiver une retraduction. Dans un second temps, nous abordons les contextes de la traduction, de l’édition et de la littérature au début du XIXe siècle. La deuxième partie de la thèse s’intéresse à Walter Scott, à Defauconpret et à l’œuvre dont les traductions sont analysées. Leur réception par la critique et par le lectorat est notamment évoquée. La dernière partie de ce travail est consacrée à l’analyse de notre corpus. Il y est en particulier question des notes de bas de page et des scotticismes, qui représentent deux éléments caractéristiques de la littérature scottienne
This dissertation aims to analyse four translations of Walter Scott’s novel Quentin Durward (1823), all translated by the same translator, Auguste-Jean-Baptiste Defauconpret. We consider determining whether the translator was the sole participant in the retranslation process, whether the three French versions that followed the first translation of 1823 are genuine retranslations or mere corrections, and whether or not the successive modifications to the first translation are oriented towards the source text. In the first part of the dissertation, some translation studies concepts are proposed, particularly the retranslation phenomenon, of which we offer an overview, before we evoke the Brownlie and the Koskinen & Paloposki theories, and the reasons why a retranslation can be envisaged. Secondly, we describe the translational, literary and publishing contexts in the beginning of the 19th century. The second part of the dissertation is dedicated to Walter Scott, Defauconpret and the novel whose translations are analysed. Their reception by the critics and the readership is discussed in particular. The analysis of the corpus follows in the last part of our work, in which we mainly study the footnotes and the scoticisms that represent characteristic features of Walter Scott literature

In quanto poiesi ibrida sul piano estetico e culturale, frutto della duplice enunciazione di autore e traduttore, oltre che di numerosi interventi intermedi da parte di agenti esterni, il testo letterario tradotto racchiude un dialogo umbratile (Prete 2011) che, se studiato da vicino, può rivelare l’irriducibilità del testo originario in quei suoi tratti di plasticità semantica (Hawthorne 2006) che varcano le frontiere linguistiche e temporali di un canone per confluire, tramite nuove parole, in un altro. In prospettiva diacronica, un simile dialogo si compone di molte voci, ognuna delle quali acquista senso sia nella catena di traduzioni che nel tempo rende fruibili differenti interpretazioni del testo e poetiche del tradurre, sia in quanto complemento concreto dell’ininterrotto lavoro di analisi critica compiuto sul testo dopo la comparsa dell’opera originale. Partendo da queste premesse, il progetto di ricerca prende le mosse dalla recente comparsa, sul mercato editoriale italiano, delle ritraduzioni de L’Étranger (1942) e La Peste (1947) di Albert Camus per i tipi Bompiani: Lo Straniero (2015), ad opera di Sergio Claudio Perroni, e La Peste (2017) di Yasmina Melaouah, che dopo parecchi decenni avviano infine un dialogo con le prime traduzioni, rispettivamente di Alberto Zevi (1947) e Beniamino Dal Fabbro (1948). L’obiettivo è quello di esporre alcune delle forme di somiglianza e divergenza dalle quali sia possibile sondare la postura traduttiva dei rispettivi autori, che su quei testi hanno proiettato inevitabilmente una propria concezione del tradurre, una storia, una poetica individuale, nondimeno figlia del proprio tempo, ossia radicata in un sistema culturale retto da norme linguistiche, editoriali e traduttive con le quali la voce del singolo deve necessariamente misurarsi. Attraverso una metodologia eclettica che si muove tra la stilistica, la semiotica, la linguistica e la narratologia delle forme letterarie, il confronto analitico condotto tra le prime e la seconde traduzioni delinea i profili di lavoro dei quattro traduttori seguendo tre principali direttrici di indagine: in primo luogo, verificare le eventuali discordanze tra le rispettive dichiarazioni paratestuali (reperite in pre/postfazioni, note alla traduzione, saggi, interviste, diari di bordo, etc.) a proposito della strategia adottata e gli esiti dell’operato concreto sui testi; in secondo luogo, esaminare l’imprescindibile manifestarsi in diacronia delle norme traduttive operanti all’atto del tradurre ma attraverso il filtro delle voci individuali, che si sono espresse sotto l’influenza di vincoli differenti e in momenti distinti della vita di questi testi, contribuendo alla loro longevità; infine, testare l’adeguatezza della cosiddetta Retranlsation Hypohtesis avanzata da Berrman e Bensimon (1990) e poi formalizzata in anni più recenti da Chesterman (2000). L’indagine ha dunque interessato tanto i paratesti reperibili che fossero latori di una certa concezione del tradurre, quanto una moltitudine di passi topici estratti dalle tre versioni (i due testi di partenza e i quattro d’arrivo) de L’Étranger e de La Peste che, messi in parallelo, fungessero sul piano quantitativo e qualitativo da campo di ispezione sensibile della realizzazione dei comportamenti individuali. Questi ultimi sono stati studiati per mezzo di un modello analitico fondato, da una parte, sull’isotopia come strumento di coerenza testuale; dall’altra, sulla distinzione tra shift opzionali, obbligatori e non-shifts quale nervo scoperto del processo traduttivo (Pekkanen 2010), accogliendo inoltre proposte molteplici riguardo agli strumenti di descrizione traduttiva (Vinay e Darbelnet 1958; Murtisari 2013; Dussart 2005; Ladmiral 1979, 1997; Harvey 1995). I risultati dell’analisi sono eterogenei e non conformi alla Retranslation Hypothesis. La predominanza del letteralismo nelle prime traduzioni difficilmente si concilia con quello sforzo di acclimatazione rivolto al lettore d’arrivo che l’ipotesi assegnerebbe sistematicamente alle prime traduzioni-introduzioni, benché l’attitudine assimilatrice si rilevi nel conformismo ad alcuni imperativi culturali ed editoriali dell’epoca (l’italianizzazione onomastica; la tendenza interpuntiva nel segno dell’ipotassi; la nobilitazione del lessico). Allo stesso tempo, le due ritraduzioni, pur con spirito assai diverso e sebbene risultino in effetti più attente alle peculiarità stilistiche dei rispettivi prototesti (come vorrebbe l’ipotesi), non adottano tuttavia procedimenti che esibiscano, senza una motivazione fondata, l’alterità del testo straniero, che anzi tendono a naturalizzare in senso fraseologico, senza per questo snaturarlo. Se di miglioramento si possa parlare all’infuori dell’evoluzione dei parametri estetici tra le due epoche (fine anni ’40 del Novecento e metà degli anni ’10 del nuovo millennio), esso andrà riconosciuto, da una parte, nell’integrità oggettivamente superiore delle ritraduzioni in termini di completezza testuale e riproduzione degli stilemi – dato che nelle prime non mancano transfert imprecisi, incompleti o scorretti dovuti a calchi strutturali o lessicali, falsi amici e interpretazioni contrarie al senso degli enunciati; dall’altra parte, le migliorie vanno attribuite senza ombra di dubbio alla professionalizzazione del mestiere e a una maggiore competenza dei ritraduttori come lettori modello dei testi affrontati, che hanno potuto studiare grazie a una straordinaria disponibilità di strumenti critici non esistenti all’epoca delle prime traduzioni. Ciò sembra aver permesso loro di scandagliare le tecniche narrative e le isotopie più significative così da porle come dominanti del proprio lavoro.
Cette étude envisage les retraductions littéraires comme les étapes d'un parcours où chaque manifestation textuelle est le résultat unique de la rencontre entre les nécessités historico-culturelles qui l'ont déterminée et la poétique de l'individu qui la prend en charge en tant que médiateur. Contre l'hypothèse de la retraduction avancée par Berman et Bensimon (1990), formalisée ensuite par Chesterman (2000) et préconisant une perspective logocentrique en dehors de l'expérience concrète de la retraduction - à savoir une progression à rebours vers la lettre du texte source - la ligne de recherche adoptée ici adhère à une idée moins déterministe de l'évaluation des séries de retraduction, afin d'étudier leurs inévitables différences internes, également dans un sens positif, à la lumière tant des nombreux facteurs qui les influencent que de l'herméneutique subjective de ceux qui les réalisent. La comparaison analytique menée entre la première et la deuxième traduction de L'Étranger (1942) et de La Peste (1947) d'Albert Camus permet ainsi de délimiter les profils de travail des quatre traducteurs en suivant deux lignes principales d'investigation : d'une part, elle vérifie les éventuelles divergences entre les déclarations paratextuelles respectives (trouvées dans les pré/postfaces, les notes de traduction, les essais, les entretiens, etc.) concernant la stratégie adoptée et les résultats du travail concret sur les textes ; d'autre part, elle examine l'inévitable manifestation en diachronie des normes de traduction opérant au moment de la traduction, mais à travers le filtre des voix individuelles qui se sont exprimées sous l'influence de différentes contraintes et à des moments distincts de la vie de ces textes, contribuant à leur longévité. Les résultats de l'analyse sont hétérogènes et non conformes à l'hypothèse de retraduction. La prédominance du littéralisme dans les premières traductions est difficilement conciliable avec l'effort d'acclimatation vers le lecteur cible que l'hypothèse attribuerait systématiquement aux premières traductions-introductions, bien que l'attitude assimilatrice se révèle dans le conformisme à certains impératifs culturels et éditoriaux de l'époque (italianisation onomastique ; tendance interponctive sous le signe de l'hypotaxe ; ennoblissement du lexique). En même temps, les deux retraductions, bien que dans un esprit très différent et bien qu'elles soient effectivement plus attentives aux particularités stylistiques de leurs proto-textes respectifs (comme le voudrait l'hypothèse), n'adoptent pas pour autant des procédés qui exhibent, sans motivation fondée, l'altérité du texte étranger, qu'elles tendent plutôt à naturaliser dans un sens phraséologique, sans pour autant le dénaturer. Si l'on peut parler d'amélioration en dehors de l'évolution des paramètres esthétiques entre les deux époques (fin des années 1940 et milieu des années 2010), il faut la reconnaître, le cas échéant, dans l'intégrité objectivement supérieure des retraductions en termes de complétude textuelle et de reproduction stylistique - étant donné que les premières ne manquent pas de transferts imprécis, incomplets ou incorrects dus à des calques structuraux ou lexicaux, des faux amis et des interprétations contraires au sens des énoncés. Par ailleurs, les améliorations sont sans doute à attribuer à la professionnalisation du métier et à la plus grande compétence des retraducteurs en tant que lecteurs modèles des textes abordés, qu'ils ont pu étudier grâce à une extraordinaire disponibilité d'outils critiques qui n'existaient pas à l'époque des premières traductions. Cela leur a permis de sonder les techniques narratives et les isotopies les plus significatives afin de les rendre dominantes dans leurs propres œuvres.

This research aims to offer a translation proposal for the first season of the American sitcom Community targeted to a Gen Z audience, using the existing Italian subtitles available on the Netflix streaming platform as a reference. The reason that led me to choose this TV series was the abundance of intertextual references and translation problems in its script. This show was originally produced between 2009 and 2014 and it was added to the Italian Netflix catalogue only in April 2020, making it available to a new audience. Therefore, I decided to research how the subtitles could be adapted to better suit the younger users of this platform. The retranslation focuses primarily on the catchphrases and special features of the protagonists’ ways of speaking, on the titles and the references to other films and TV series, on culture-specific elements, on mentions of pop culture personalities or events and, when necessary, on the removal of racist and sexist speech, which cannot be tolerated by the younger generations. Subsequently, the translation choices were divided into categories based on their characteristics and they were justified through an analysis of the original references, the solutions adopted in the retranslation and how they can be better enjoyed by the new target audience.

This research presents a synchronic and a diachronic investigation of six Italian translations of Alice's Adventures in Wonderland (Alice) across a century (1872-1988). This work draws on Antoine Berman's method for the analysis of literary translations and integrates it with interdisciplinary theoretical approaches focused on the investigation of children's literature in translation. The premises of children's literature studies, translation studies, and retranslation studies underpin the analytical framework that supports the textual analysis. The examination focuses in particular on the translation strategies used to convey in Italian the culture-specific references that contribute to fashion the identity of Alice and her Wonderland. The research operates on two different levels. Firstly, it presents a synchronic investigation concerned with a close reading and analysis of each translation in linguistic and textual terms. The elements examined in the detailed survey offer the opportunity to retrace the translators' unique understanding of Alice and discuss how it was conveyed to the Italian readers. Secondly, it proposes a diachronic investigation comparing, from a chronological perspective, the translation solutions previously identified and examines how the concepts of the image of the child and dual readership have evolved in the Italian translations. The purpose of the study is to investigate the translation strategies to convey Alice in Italian, observe the patterns that emerge from the analysis of the texts and advance explanatory hypotheses that would account for the changes in the translators' understanding of Carroll's novel over time. The close reading the research centres on aims to provide a meticulous collection of the translation solutions found in the texts; these are not confined to particular passages of the book but are found throughout it, thus offering support for future analysis on the translations of Alice. Finally, this research also aims to contribute to the analysis of children's literature in translation by providing an analytical framework able to support the investigation of different aspects of books for children in translation in other languages other than Italian.

Le traducteur littéraire en Iran est le maillon principal d’une chaîne qui contribue à la création et au développement de nouvelles formes et de nouveaux thèmes dans la littérature nationale. Dans l’immense majorité des cas, c’est lui qui amorce le processus de production d’une traduction par la sélection de l’œuvre à traduire. Mais ce choix n’est pas anodin : il est tributaire de toute la trajectoire de la vie sociale du sujet traduisant, son habitus selon Bourdieu et son horizon selon Berman ; il est soumis à la position occupée par le traducteur en fonction du niveau de son capital symbolique, social et économique accumulé par ses prises de position, en l’occurrence ses traductions précédentes. Une fois l’œuvre sélectionnée, le choix de la stratégie traductive suit le même schéma, l’habitus et la position du traducteur peuvent l’orienter vers telle ou telle stratégie ou démarche. À cela s’ajoute la visée de la traduction selon le traducteur : veut-il gagner de l’argent ou la reconnaissance de ses pairs ? Cherche-t-il à subvertir les règles établies ou à les respecter dans sa traduction ?En analysant le cas des (re)traductions en persan de Caligula d’Albert Camus, avec une démarche pluridisciplinaire à la croisée de la sociologie et de la traductologie, la présente étude tente de définir le champ de la traduction littéraire en Iran et d’identifier le rôle des agents qui y interviennent activement tels que le traducteur, l’éditeur, les instances de contrôle comme les ministères culturels et les académies, ainsi que les libraires dont l’influence dans la réception des (re)traductions est souvent passée sous silence dans les études traductologiques portant sur le contexte iranien
The literary translator in Iran is the key link in the chain of translation that contributes to the creation and development of new forms and themes in national literature. For the most part, it is the translator who begins the process of producing a translation by selecting the source text. However, this choice is not insignificant: it is affected by the whole trajectory of the translator's social life, his habitus according to Bourdieu and his horizon according to Berman; it is subject to the position occupied by the translator, and depends on the level of his symbolic, social, and economic capital which the previous expression of his standpoints, in this case his translations, have accumulated. Once the source text has been selected, the choice of the translation strategy follows the same pattern. It is the habitus and the position of the translator, which can orient him towards a particular technique or approach. Furthermore, the aim of the translator is important: does he/she want to earn money or recognition from his/her peers? Does he/she choose to subvert the established rules or to respect them in his/her translation? By analyzing the case of (re)translations into Persian of Albert Camus' Caligula, using a multidisciplinary approach at the crossroads of sociology and translation studies, the present study attempts to provide an overview of the field of literary translation in Iran and to identify the role of the agents who play an active role in it such as the translator, the publisher, the controlling authorities and agencies such as cultural ministries and academies, as well as the booksellers whose influence on the reception of (re)translations has often been ignored in translation studies of the Iranian context

碩士
國立臺南大學
美術學系碩士班
101
Entitled “Sentiments Reinterpreted: the Gleam of Light,” this study is an attempt to revisit my artworks dating back to the graduate school period (2008-2013) in terms of the process of art practices and contextual reflections, while at the same time exploring their underlying conceptsor aesthetic ideas. In this study, methods of action research such as introspection, analysis and art projects are employed not only to clarify my internal thoughts and creative practices, but also to summarize the evolution of my art works as a whole. The main part of this study comprises five chapters. Chapter 1 is an introduction statingthe motives, purpose, methodology, scope and framework of my research project. Chapter 2 explores how art theories are linked to the perspectives on artistic creation, as well as the dynamics between texts, translation and reproduction. In Chapter 3, the media and forms adopted for my artworks are addressed and deliberated in accordance with the process in which those works were conceived and executed. Available in the same chapter are details about how I experimented with the media and kept records accordingly. Chapter 4 delves into the forms and styles I utilized to present “The Reading Series” and “The Voice Recording Project.”The conclusion in Chapter 5 summarizes my views on artistic creation as a whole, and how I put them into practice.As the present study requires me to write about, to contemplate and to review the ideas behind my past artworks as well as the turning points in my artistic pursuits, the findingswould hopefully pave the way for forthcoming project-oriented research or further discussions.

碩士
國立彰化師範大學
翻譯研究所
104
Abstract The English subtitles of The Help (2011) feature syntactic characteristics of African-American Vernacular English; however, the Chinese translation sacrifices this syntactic variation. Translators might have difficulty in rendering this syntactic difference into Chinese when taking fluency and readability into consideration; nevertheless, owing to the theme of The Help is related to racism, the linguistic distinctions are essential in the movie, and thus it is worthwhile to explore the possibility of achieving an equivalent linguistic effect in the Chinese translation. According to Chang (2007), due to fundamental syntactic disparities between English and Chinese, some syntactic characteristics of African-American Vernacular English are of high percentage to be translated into Chinese without being highlighted. Nonetheless, as Tseng’s (2003) exploration into syntactic features of Taiwanese Mandarin suggested, it could be seen that certain syntactic characteristics of Taiwanese Mandarin can correspond to those of African-American Vernacular English. Thus, such syntactic chracteristecs in Taiwanese Mandarin could serve as Chinese equivalents to the English ones. Therefore, taking the syntactic characteristics of African-American Vernacular English, the readability of translated subtitles, and the linguistic equivalent effects into account, this case study on The Help (2011) applied syntactic characteristics of Taiwanese Mandarin proposed by Tseng (2003) as the highlighter for those of African-American Vernacular English. With this new trial to underline the characteristics of African-American Vernacular English, this study attempts to bring the Chinese audience to notice that certain syntactic differences do exist when they are watching the movie with the retranslated Chinese subtitles.

This thesis focuses on comparing two Czech translations of Klaus Mann's novel Mephisto. The first translation was issued in 1937, the second translation in 1962 and later re-issued in 1984, 1986, 2000, 2004 a 2008. After an introduction summarizing the author's life and the novel's troubled fate after World War II, the focus shifts to the selected Czech translation and their background. The attention is paid to their respective translators and first publishing houses. Subsequently, the translations are subjected to a descriptive analysis. Inspired by Katharina Reiß, we include both extra- and intra-linguistic phenomena, also using categories first introduced by Czechoslovak translation scholars Jiří Levý and Anton Popovič. The approaches of both Mephisto translators are not only compared, but also contextualized within the translation methods framework and its development in Czechoslovakia, especially the so-called Otokar Fischer's school. After presenting a selection of translation scholars' views on ageing translations, we debate if the analyzed translations are obsolete or not. Lastly, we take into account possible other (extra-linguistic/pragmatic) reasons for the publishing disproportion between the selected translations. Key words: Klaus Mann, Mephisto, comparing translations, translation...

Ce mémoire porte sur les retraductions françaises du XXe siècle d’Al Moqaddima (Les Prolégomènes) (1377) d’Ibn Khaldoun, un traité historique et philosophique du XIVe siècle. La première traduction française, Les Prolégomènes, est réalisée par De Slane entre 1840 et 1863. Elle est suivie de deux retraductions, à savoir Discours sur l’histoire universelle (1967- 1968) réalisée par Vincent-Mansour Monteil, et Le Livre des Exemples I : Autobiographie, La Muqaddima (2002) réalisée par Abdesselam Cheddadi. L’objet de ce mémoire est de mener une analyse contextuelle, paratextuelle et discursive de ces deux retraductions de l’œuvre monumentale d’Ibn Khaldoun, afin de dégager les principaux facteurs déterminant, dans chaque cas, le choix de retraduire. Notre approche théorique s’inscrit dans le contexte récent de remise en cause de ladite « hypothèse de la retraduction » d’Antoine Berman, qui privilégie une analyse textuelle de l’œuvre (re)traduite en négligeant quelque peu l’analyse contextuelle éclairant les conditions de production des retraductions, et en limitant le positionnement du traducteur à sa relation envers la « vérité » du texte source. Ainsi, en retraçant l’histoire des différentes éditions des Prolégomènes au XXe siècle, en exposant le contexte qui entoure les retraductions, et en nous nous attachant aux stratégies discursives déployées par les traducteurs en marge de ces dernières, nous tenons compte des réflexions récentes sur les « causalités multiples » du phénomène de la retraduction, tout en montrant comment la subjectivité du traducteur, ses décisions et ses motivations sont reliées à tous les éléments extratextuels ou contextuels mis en valeur par les théoriciens. Nous montrons par notre analyse que les deux retraductions au corpus sont motivées par des facteurs internes au texte (tels que l’authenticité de leur original, une meilleure connaissance du texte, de la langue et de la culture source, la nécessité de corriger des erreurs dans les traductions antérieures), mais aussi par de nouveaux éléments externes au texte (tels que le changement de normes sociales, littéraires et traductionnelles, l’émergence de nouvelles interprétations du texte, le positionnement idéologique du retraducteur, sa volonté de s’imposer comme une autorité, etc.). La retraduction s’avère donc un phénomène complexe motivé par une combinaison de facteurs, à la fois internes (textuels), externes (contextuels) et personnels, propres au (re)traducteur.
This thesis studies the XXth-century French retranslations of Ibn Khaldun’s XVIth- century historical and philosophical treatise Al Moqaddima (or Prolegomena, 1377). The first French translation as Les Prolégomènes was written by De Slane between 1840 and 1863. It was followed by two XXth-century retranslations, respectively entitled Discours sur l’histoire universelle (1967-1968) by Vincent-Mansour Monteil, and Le Livre des Exemples I : Autobiographie, La Muqaddima (2002) by Abdesselam Cheddadi. This thesis explores the contexts, paratexts, and discursive strategies surrounding each retranslation of Khaldun’s monumental treatise, in order to clarify the major factors that determine, in each case, the translator’s decision to retranslate. Our theoretical approach stems from recent debates around Antoine Berman’s “retranslation hypothesis”, which focuses on a textual analysis of retranslations, and tends to downplay the importance of the context surrounding the production of retranslations, and limits the translator’s positioning to his/her relationship to the “truth” of the original. By documenting the history of XXth-century editions of Khaldun’s Prolegomena, by establishing the context surrounding each retranslation, and by analyzing the discursive strategies deployed by each retranslator in the margins of his work, our study takes into account recent theories of “plural causality” in retranslation; we also highlight the ways in which the translators’ subjectivity, their choices and motivations are deeply connected with the extra-textual, or contextual elements emphasized by such theories. Our analysis shows the two translations under study to be motivated by internal, textual factors (such as: more authentic original manuscripts, better textual criticism and understanding of the source language and culture, the necessity to correct errors in the previous translations, etc.), but also extra-textual, or contextual factors (changing social, literary and translation norms, new interpretations of the original, the translator’s ideological position and need to establish his authority, etc.). In the end, retranslation emerges as a complex phenomenon deriving from a variety of causes, at once internal (textual), external (contextual), and personal, that is, due to the translator’s own agency.

Bien qu’elle ne constitue en rien une pratique marginale, la révision, en tant que relecture et modification d’une traduction existante dans le but d’une nouvelle édition, a suscité jusqu’à maintenant très peu d’intérêt en traductologie. La retraduction, activité avec laquelle elle entretient de nombreux liens, a quant à elle souvent été abordée comme le résultat de simples schémas monocausaux, fondés sur la défaillance ou sur l’évolution des normes. Le présent mémoire, à partir de l’analyse comparative de la trilogie Mémoire du feu (publiée pour la première fois chez Plon en 1985 et 1988) — traduction française de Memoria del fuego, d’Eduardo Galeano (1982, 1984 et 1986) — et de sa révision (publiée chez Lux en 2013), démontre plutôt la multiplicité des facteurs sous-tendant le processus de révision et la nécessité d’étudier leurs interactions. Notre étude de cas, alliant une analyse textuelle, une étude contextuelle et un travail de terrain, révèle l’influence significative des pratiques, des positions idéologiques et des conceptions des agents tant sur l’entreprise d’une révision que sur son déroulement.
Revision, conceived here as the rereading and modification of an existing translation prior to a new edition, although it does not constitute in any way a marginal practice, have received very little interest from translation studies scholars. Retranslation, with which it shares many characteristics, has generally been conceived as the mere result of monocausal models, either based on ‘ʻdéfaillanceʼʼ or the evolution of norms. This master’s thesis, based on a comparative analysis of the trilogy Mémoire du feu (first published by Plon in 1985 and 1988) — French translation of Memoria del fuego, written by Eduardo Galeano (1982, 1984 and 1986) — and its revised edition (published by Lux in 2013), reveals the multiplicity of factors shaping the revision’s process and the relevance of studying their interactions. Our case study, combining textual and contextual analysis as well as field work, demonstrates the significant influence of agent’s practices, ideological stances and conceptions on the undertaking and realisation of a revised edition.

Du Fu foi um grande poeta realista da dinastia chinesa de Tang (618 d. C. - 907 d. C.), sendo posteriormente considerado como o “Santo da Poesia” (诗圣 ). Graças a um crescente intercâmbio cultural entre a China e Portugal, foi publicada em 2017 a primeira grande antologia de Poemas de Du Fu em língua portuguesa. Importa salientar que o seu tradutor, António Graça de Abreu, não traduziu de imediato do chinês, consultando traduções em outras línguas, tais como o inglês, o francês, o alemão e o castelhano, bem como outras traduções portuguesas. Neste caso, como classificar esta tradução? É uma tradução indirecta ou uma retradução? Para compreender melhor este caso complexo no âmbito dos Estudos de Tradução, neste trabalho, procurou-se examinar primeiro a indirectude a nível paratextual e, de seguida, seleccionar seis poemas para construir um corpus bilingue, com vista a analisar como as traduções intermediárias se evidenciam nas traduções de António Graça de Abreu. O objectivo final deste trabalho é reavaliar a definição de tradução indirecta, bem como explorar a relação entre Retradução e Tradução Indirecta.
Du Fu was a great realist poet of the Chinese Tang dynasty (618 AD - 907 AD), who was regarded as the “Saint of Poetry” (诗圣 ). Owing to a growing cultural exchange between China and Portugal, the first anthology of Du Fu's Poems in the Portuguese language was published in 2017. It should be noted that its translator, António Graça de Abreu, not only completed this work from the original Chinese text, but also consulted translations in other languages such as English. French, German and Spanish, as well as other Portuguese translations. In this case, how to classify this translation? Is it an indirect translation or a retranslation? In order to understand better this complex case in Translation Studies, this paper first sought to examine indirectness at the paratextual level and then to select six poems to build a bilingual corpus to analyse how those intermediate translations are evidenced in António Graça de Abreu’s final product. The final aim of this paper is to reassess the definition of indirect translation, as well as to explore the relationship between retranslation and indirect translation.

碩士
國立彰化師範大學
翻譯研究所
107
African American Vernacular English in literature or movies is usually an essential element in reflecting the cultural background or personal traits of people who speak it. However, it is challenging to translate African American Vernacular English into Chinese with an equivalent language because of its distinctive linguistic characteristics, and researchers and translators are still managing to find a proper method for its rendition. In addition, compared with other kinds of translation, research and theories on subtitling translation started relatively late, and many issues about subtitling translation are worth exploring. Chen (2016) analyzed the syntactic features of subtitles in The Help (2011), and proposed retranslation of African American Vernacular English based on “syntax of Taiwanese Mandarin.” The present study is an extended research of Chen’s study, aiming to verify the effects of Chen’s retranslation. Wu’s (2015) and Kao’s (2012) research designs were followed by this study to investigate the audience’s acceptability, satisfaction, and evaluation (including fluency, conciseness, understandability, and processing effort) of translation with the syntax of Taiwanese Mandarin. By means of questionnaire survey and interviews, this study also intended to examine the similarities and differences between the audience’s opinions on official subtitles and retranslated subtitles. The research results were categorized into quantitative aspect and qualitative aspect. According to the quantitative analysis, the audience did not recognize the differences between African American Vernacular English and Standard English neither in the retranslated subtitles, nor in the original ones. In addition, the audience did not show specific preference to one of the subtitle’s versions as well. The qualitative results, on the other hand, showed that the retranslated subtitles could actually make the audience notice the syntactic characteristics that the researcher had tried to emphasize. Generally speaking, the retranslation was acceptable to the audience, while it compromised on a bit of fluency and conciseness.

O romance anti-escravatura Uncle Tom’s Cabin, de Harriet Beecher Stowe, é um dos textos mais famosos do século XIX e teve um tremendo impacto social, político e cultural em todo o mundo, incluindo em Portugal. A presente dissertação consiste numa análise comparativa de capítulos selecionados de duas traduções portuguesas de Uncle Tom’s Cabin: uma tradução de 1853 (uma das primeiras a ser publicada em Portugal, apenas um ano depois da publicação do romance nos Estados Unidos) e uma tradução de 2005 (a tradução portuguesa mais recente). As disciplinas de Estudos de Tradução e da História da Tradução serviram de enquadramento teórico a esta análise comparativa, que se foca em três aspectos concretos: a proximidade ao texto de partida, a tradução de dialectos e a tradução de linguagem tabu. Este trabalho tem um impulso hermenêutico e não meramente descritivo, uma vez que se pretende interpretar as diferenças e semelhanças entre as duas traduções e relacioná-las com o contexto em que estas foram produzidas, publicadas e lidas. O objectivo principal é, portanto, compreender como Uncle Tom’s Cabin foi traduzido e recebido em Portugal em momentos históricos muito diferentes e como estes processos de mudança se manifestam através da tradução.
Harriet Beecher Stowe’s anti-slavery novel Uncle Tom’s Cabin is one of the most famous texts from the 19th century and it has had a tremendous social, political, and cultural impact around the world, including in Portugal. This dissertation consists in a comparative analysis of selected chapters taken from two Portuguese translations of Uncle Tom’s Cabin: a translation from 1853 (one of the first to be published in Portugal, only a year after the novel was first published in the United States) and a translation from 2005 (the most recent Portuguese translation). In terms of theory, the fields of Translation Studies and Translation History will serve as the framework for this comparative analysis, which will focus on three specific aspects: proximity to the source text, the translation of dialects, and the translation of taboo language. The impulse behind this work is not only descriptive but hermeneutic, since it intends to interpret the differences and similarities between the two translations, and relate them to the context in which they were produced, published, and read. Our main objective is therefore to understand how Uncle Tom’s Cabin was translated and received in Portugal in two different time periods and how these processes of change are manifested through translation.