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Journal articles on the topic 'Translation as literary form'
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1
Bogen, Don. "TRANSLATING THE CANON: THE CHALLENGE OF POETIC FORM." Vertimo studijos 4, no. 4 (2017): 9. http://dx.doi.org/10.15388/vertstud.2011.4.10569.
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The literary translator taking on the task of rendering a major work of European poetry into contemporary English verse faces several challenges in regard to poetic form, including the problem of finding forms in English-language poetry today for conventions derived from foreign literary traditions and the need to engage the historical context of the work without sounding archaic. If a translation is to transmit the essence of a canonical text from a century or more ago, including its formal dimension, it must both convey what is distinct about the original, moving the reader toward the fundamental foreignness of the text, as Schleiermacher advised, and speak to the reader in the language of our time, because a translation that is not recognizable as good poetry in contemporary terms will not be read. This essay will compare the particular strategies of three successful but quite different contemporary translations of canonical works: Richard Howard’s versijon of Baudelaire’s Flowers of Evil, Robert Pinsky’s translation of The Inferno, and Seamus Heaney’s Beowulf.
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Khrais, Sura M. "Literary Translation and Cultural Challenges: JhumpaLahiri's The Namesake." International Journal of Comparative Literature and Translation Studies 5, no. 1 (2017): 80. http://dx.doi.org/10.7575/aiac.ijclts.v.5n.1p.80.
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This paper discusses how the nature of literary translation differs from other forms of translation by looking at practical difficulties and challenges notable in the Arabic translation of Lahiri's novel The Namesake (2003). The difficulties discussed are cultural differences which have created “untranslatable” cultural-bound words and phrases, as well as specialized vocabulary. The paper explores the conflict between the translator's duty to accuracy and his/her duty to literary translation as an art form. One problem faced by the prose-translator is finding terms in his or her own language that are faithful as much as possible to the meaning of certain words in S.L. For example, there are words which describe specific rituals or those related to typical architecture, fabrics, and cookery; these and many others represent the specific culture of the original text and the translator needs to be careful when translating them. The researcher finally suggests that there is a need to expand the perimeters of translation studies specially those dealing with literary prose because the translators and researchers lay more emphasis on the translation of poetry.
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Hakobyan, Anna. "Evaluation Criteria for Literary Translation." Armenian Folia Anglistika 7, no. 1 (8) (2011): 122–27. http://dx.doi.org/10.46991/afa/2011.7.1.122.
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As a form of human spiritual activity, literary translation is diverse in nature, therefore it can be evaluated in terms of its equivalence to the original text as well as the communicative value of translation. What is more, the opinions may vary depending on the positions of the translator and the evaluator. The one who evaluates a literary translation faces a number of problems whose solution requires objective criteria for its evaluation. Nevertheless, the evaluation of translation is also dependent on subjective human perception and in order to overcome the inevitable subjectivism it is necessary to turn the standards underlying the subjective judgments objective rather than replace them with objective ones. The degree of equivalence is one of the standards of evaluating the results of the process. The knowledge of the two languages makes it possible for the translator to work more accurately, demonstrating the types of changes that are possible and permissible in the process of translation. At the level of the form these changes result in morphological and syntactic modifications. Changes at the semantic level prove harder. However, they can be distinguished, too, since they lead to logical links between different notions – broadening and narrowing, adjacent and opposite relations, transfer of metaphors and metonymies.
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Tahmasebian, Kayvan, and Rebecca Ruth Gould. "The Temporality of Interlinear Translation." Representations 155, no. 1 (2021): 1–28. http://dx.doi.org/10.1525/rep.2021.155.1.1.
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This article examines the temporality of interlinear translation through a case study of the rendering of Friedrich Hölderlin’s poetry into Persian. We argue that, in its adherence to the word order of the original, the interlinear crib prioritizes the temporality of the instant (kairos) over the temporality of the linear sequence (chronos). Kairos is made manifest in the literalist translations of Hölderlin by the modernist Iranian translator-poet Bijan Elahi (d. 2010). This inquiry advances our understanding of the role of syntax in constituting literary form and in shaping translation, and exposes the contingency of the translator’s decisions in every given literary juncture.
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Xiao, Jiayan, and Guowen Huang. "Translation and modification." FORUM / Revue internationale d’interprétation et de traduction / International Journal of Interpretation and Translation 14, no. 2 (2016): 255–73. http://dx.doi.org/10.1075/forum.14.2.05xia.
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Abstract Both phonemic transliteration and semantic translation have been widely used in translating the names of characters in literary works. Nonetheless, discussion as to which of them is more appropriate continues. An investigation of the English translation of characters’ names in the Chinese classics Hong Lou Meng has suggested that either phonemic transliteration or semantic translation is reluctantly accompanied by some modification from the originals due to cultural and literary contextual constraints. Many of the past studies have reviewed the cultural context for explaining and considering the merits of each, though the literary angle has sometimes been disregarded. The case study of the translation by D. Hawkes has provided insight into that cultural context was not the only one that mediated the translation of names, instead the literary context acted in much the same way.
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Lotman, Maria-Kristiina, and Elin Sütiste. "“The Translator Must...”: On the Estonian Translation Poetics of the 20th Century." Interlitteraria 21, no. 1 (2016): 17. http://dx.doi.org/10.12697/il.2016.21.1.3.
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The paper outlines the main features of Estonian translation poetics in the 20th century, examining the expression of the prevalent ideas guiding literary translation in writings about translation (mostly reviews and articles) in juxtaposition with examples from actual translations. The predominant ideal of translating verse and prose has been that of artistic translation, especially since the end of the 1920s. On the other hand, this general principle can be shown to have had somewhat differing emphases depending on the field of application as well as time period, ranging from the mostly form-oriented to mostly content-oriented translation.
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Pajević, Marko. "Literary Translation and Transmediality: Clive Scott’s Reader-Oriented Translation Theory and Practice." Journal of Critical Studies in Language and Literature 2, no. 2 (2021): 1–10. http://dx.doi.org/10.46809/jcsll.v2i2.53.
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The British translation practitioner and theorist Clive Scott has presented an approach to literary translation that integrates the transmedial into textual translation. His translations of poetry contain doodling, handwriting, crossing out, writing over, typographical experimentation, and photo-collages; he even offers photo-poetic translations consisting exclusively of photos. By including such extra-verbal matter, they play with the medium of literature and integrate a rich variety of visual forms. Scott wishes to stress the role of perception in translating; he offers a reader-focused theory of translation. He is much less concerned with translation as a service for people who do not understand the original language than with the act of translating as a school for reading and hence for developing our capacities of perception and self-awareness. The materiality of language plays a major role in such an idea of translation. His approach has little to do with intentional meaning, focusing instead on the accessibility of sense. Translating is a process, and it is the relationship of this process to what Scott rightly sees as the multi-sensory process of meaning-making during reading that is at issue in his theory and practice. By analysing Scott’s theory and examples of his translationwork, this paper considers what this approach to translating says about transmediality in a phenomenological sense: it sheds light on how we read and perceive and on what the transmedial elements in these processes do. Scott’s transmedial translation theory and practice bring to the fore the multiplicity of media involved in the perception of a text in the reader’s mind and thus sharpens the awareness of what language is and does.
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Li, Yuan, and Xu Jun. "Sur la retraduction littéraire actuelle en Chine." Babel. Revue internationale de la traduction / International Journal of Translation 43, no. 4 (1997): 303–12. http://dx.doi.org/10.1075/babel.43.4.03li.
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Re-translation is an inevitable phenomenon in the process of translation practice. As early as the fifth-century B C., China had had the first re-translation of Buddhism. In some sense good re-translation contributes not only to the spread of the original text and the former translations, but also to the promotion of the translation practice of a nation. Recently re-translating foreign literary masterpieces has become a fad in Chinese literary circles. There even appeared more than ten different translations of one work within a short span of several years. A questionnaire research involving readers of diverse levels was sponsored by the Translation Study Centre of Nanjing University and the prestigious Reader Weekly of Shanghai, aiming at gathering opinions on many fundamental problems in translation exemplified by the fifteen Chinese translations of Le Rouge et le Noir. A good number of readers hold that the fad of re-translating masterpieces is encouraged by the double factors of the internal and external, that the translator's recreation is unavoidable but should he limited, that the translation which is strictly faithful to the original text in content and form (the version that retains the exotic sentiments in particular) is more welcome to the Chinese readers than the completely Sino-centered one, and that the translation criticism should, according to the principle of multi-standards, facilitate readers of different levels to choose their favourite version.
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Atkins, Tim. "Seven Types of Translation: Translation Tables." English: Journal of the English Association 69, no. 267 (2020): 379–96. http://dx.doi.org/10.1093/english/efaa029.
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Abstract This article and accompanying table provide an overview and catalogue of a large number of experimental translation methods that have been used by avantgarde poets. Poetic/experimental translation as defined and explored herein is a form of translation in which the aesthetic and execution of the translator is as important as that of the perceived intention of the original writer. The article’s seven-section table gives a definition of each method, and gives examples and expositions of a range of particular poets' work. The table of translation methods recognizes and explores the fact that of all forms of writing, poetry concerns itself with the ‘how it is said’ more than any other. The table outlines many different methods of translation, looking at how meaning, rhyme, sound, form, constraint, or style can be translated by the experimental writer when translating one or more source texts. These individual, intellectual, and aesthetic choices made by a wide range of poets are collated and detailed in seven discrete-yet-overlapping areas.
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Lashchyk, N. M., and A. M. Kuchera. "THE TRANSLATION OF THE FICTION TEXT AND INTERPRETATION (LITERARY ASPECT)." PRECARPATHIAN BULLETIN OF THE SHEVCHENKO SCIENTIFIC SOCIETY Word, no. 3(55) (April 12, 2019): 198–204. http://dx.doi.org/10.31471/2304-7402-2019-3(55)-198-204.
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The article is determined to study the translation of the fiction text and interpretation, their typology and differences have been enlightened as well. The literary aspect of the denoted notions has been outlined. The problems of reception and understanding of the fiction text as an important integral part of interpretation and translation are considered in the article.
 The problem of interpretation and translation attracts attention of modern literary scientists. The scientists consider interpretation as assimilating of high and aesthetic, semantic and emotional information of a fiction work that is fulfilled by creation of author’s vision and knowledge of reality.
 A translated work as an original text must influence the mind and feelings of readers. Ideas and images of the original a translator must move to the ground of another ethnoculture and language transmitting not only contents but a fiction form of the original work as well. Those translations that reproduce all elevated and aesthetic wealth of the original are recognized to be of high quality.
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Markiewka, Tomasz. "Przepisywanie Beowulfa: J.R.R. Tolkiena meandry przekładu." Między Oryginałem a Przekładem 24, no. 40 (2018): 47–63. http://dx.doi.org/10.12797/moap.24.2018.40.03.
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Rewriting Boewulf: J.R.R. Tolkien’s Meandering Translation J.R.R. Tolkien’s works related to translation include both translations and adaptations in the form of pastiche. All of them have been published as posthumous editions, equipped with detailed critical commentaries and edited by the writer’s son, Christopher Tolkien. Among recent publications in English and Polish, one that deserves particular attention is a 1926 prose translation of the Old English poem Beowulf (2014, Polish ed. 2015). This edition presents Tolkien performing a few roles, acting as a translator, translation critic, editor, commentator, literary scholar, linguist, and creative writer. In fact, “translation” becomes a textual hybrid in which one can observe the work of a translator from the initial phase of close reading of a source text through three variants of prose translation (two from 1926 and one from 1942); alternative fragmentar translations in alliterative verse; a detailed philological and cultural commentary composed of lecture notes; original literary works inspired by Beowulf, which include the short story Sellic Spell (in two English versions and as a back translation into Old English); and two versions of the original poem The Lay of Beowulf. As a result, the 2014 edition of Tolkien’s Beowulf realizes the ideal of a translation once described by Vladimir Nabokov: the text of translation emerges from multilayered commentary, which, in Tolkien’s work, crosses the boundaries of languages and genres.
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Naumenko, Anatolii. "THE AUTHOR’S INDIVIDUAL STYLE IN TRANSLATION." Naukovy Visnyk of South Ukrainian National Pedagogical University named after K. D. Ushynsky: Linguistic Sciences 18, no. 28 (2019): 139–48. http://dx.doi.org/10.24195/2616-5317-2019-28-13.
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Traditional linguistic translation of literature often involves various changes in the form and meaning. The research illustrates the above mentioned statement by means of the analysis of the acknowledged translations of “Faust” by Goethe into three East-Slavonic languages. The translators’ attempt to reproduce the implicit thought of the author often comes to a failure because of the wrong interpretation of the implicit meaning. Numerous divergences in translations from the concepts of the original (e. g. change of the process into its result, etc.) don’t allow to preserve the aesthetic and historic aspects of the authentic text. It is assumed that adequate and faithful translation may be still achieved on condition that each word, each morphological unity and syntactic construction is transformed while translating into the target language with the preservation of the original semantics and pragmatics. It has been postulated that in translating verses special attention should be paid to rhyme, rhythm and tropes. In this respect the author’s individual style is preserved and rendered by means of another language. Thus, the most skilled translators of literary works prove to be writers and poets. The methodology of this research involved the inductive and deductive methods, the method of contrastive analysis. In the course of the research it has been concluded and experimentally and statistically proved that there exist common strategies and tactics of translating literary works into different languages. It has also been postulated that the pragmatic and the expressive potential of literary works is preserved and rendered in translation.
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Babîi, Oana. "Variables as Contextual Constraints in Translating Irony." Linguaculture 2015, no. 1 (2015): 98–123. http://dx.doi.org/10.1515/lincu-2015-0039.
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Abstract The translator’s role and responsibility are high in any act of interlingual communication, and even higher when irony, an indirect and deliberately elusive form of communication, is involved in the translation process. By allowing more than one possible interpretation, irony is inevitably exposed to the risk of being misunderstood. This paper attempts to capture the complexity of translating irony, making use of theoretical frameworks provided by literary studies and translation studies. It analyses if and how the types of irony, the literary genres and the cultural, normative factors, perceived as potential contextual constraints, have an impact on the translator’ choices in rendering irony in translation, taking illustrative examples from Jonathan Swift, Oscar Wilde, Aldous Huxley and David Lodge’s works.
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Novikova, M. G. "Dynamics of the form for literary discourse and translation." RUDN JOURNAL OF LANGUAGE STUDIES, SEMIOTICS AND SEMANTICS 8, no. 1 (2017): 166–73. http://dx.doi.org/10.22363/2313-2299-2017-8-1-166-173.
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Gould, Rebecca Ruth. "Hard Translation: Persian Poetry and Post-National Literary Form." Forum for Modern Language Studies 54, no. 2 (2018): 191–206. http://dx.doi.org/10.1093/fmls/cqx039.
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Zeller, Beatriz. "On Translation and Authorship." Meta 45, no. 1 (2002): 134–39. http://dx.doi.org/10.7202/004640ar.
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Abstract Using the concepts of translation and authorship as a starting point, this article explores the role of the literary translator vis-à-vis the cultural forces that determine the acceptance (or non-acceptance) of translation as an original form of expression. A comparison is made of the modern translation traditions of Spanish-America and Anglo-America.
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Bo, L. Maria. "Freedom Over Seas: Eileen Chang, Ernest Hemingway, and the Translation of Truth in the Cold War." Comparative Literature 71, no. 3 (2019): 252–71. http://dx.doi.org/10.1215/00104124-7546276.
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Abstract This article examines Eileen Chang’s 1953 translation of Ernest Hemingway’s The Old Man and the Sea into Chinese as Cold War propaganda for the United States Information Service (USIS). It argues that this translation, meant to show the truth of democracy through its high modernist form, directly influenced the writing and translating of The Rice-Sprout Song (1955), the novel Chang wrote next for the USIS to expose the truth of famine in Communist China. I show that Chang’s translation practices connect US and Chinese literary modernisms in a showdown of literary forms and their disparate claims to the truth. Chang navigates political ideologies by eschewing linguistic equivalence to favor equivocation instead, ultimately transforming Hemingway’s modernist form via her own. It thus adds to transpacific studies and Cold War historiography by revealing the intimate relationship between political ideology and literary form, and their cross-fertilization in the process of translation.
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Ismail Omar, Lamis. "The Stylistic Amplification of Conceptual Metaphors in Translating Shakespeare into Arabic by Mohamed Enani." Arab World English Journal For Translation and Literary Studies 4, no. 4 (2020): 58–71. http://dx.doi.org/10.24093/awejtls/vol4no4.5.
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Translating Shakespeare into Arabic is a century-old cultural project which is still a source of challenge for translators who adopt a source-text-oriented approach that attempts to simulate the original in content, form and impact. Shakespeare’s texts are rife with metaphoric language which serves multiple functions on the cognitive, cultural, pragmatic as well as stylistic levels. This paper aims to analyse the translation of literary metaphors from a stylistic perspective in Mohamed Enani’s version of Othello. The analysis is conducted in the framework of conceptual metaphor theory which provides a microscopic description of how metaphors are influenced by the translation process. The findings of the analysis unveil the translation strategy adopted by Enani to reflect the stylistic function of metaphors while preserving their cognitive content and reveals that translating metaphors is influenced by the cognitive and professional background of the translator. Amplification emerges as a successful translation strategy which is used to extend metaphors creatively thus adding cognitive value to the Source Text content and compensating for a possible loss in the style of the Target Text. This paper concludes that, contrary to the prevalent assumptions, a source-text-oriented approach can deliver an accurate yet stylistically-functional translation if the translator is creative enough and willing to exert an additional cognitive effort similar to that exerted by the original writer. Enani’s translations of Shakespeare into Arabic are worth a life-long research project on the translation of style in literature.
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Haddi, Loubna. "Tackling Difficulties in Translating Culture-bound Metaphor in Nizar Qabbani’s Poetry: A Comparative Study." Ethical Lingua: Journal of Language Teaching and Literature 6, no. 2 (2019): 59–71. http://dx.doi.org/10.30605/25409190.v6.59-71.
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Arabic poetry has long taken precedence over other literary forms. It is the oldest form of literature known in the Arabic language, dating back to year 400 A.D. In the context of translation, poetry poses a few daunting hurdles in attempting to reach equally metaphorical meanings in the target language. This article seeks to illustrate the cultural problems witnessed in translating culture-bound metaphor. For this purpose, poetry by prominent Arab poet Nizar Qabbani is the main reference and the selected case study in the article for the poet’s place and contribution in Arabic poetry. The theoretical framework adopts two translation models— Newmark’s Semantic Translation and Den Broeck’s literal, paraphrase and substitution. In addition to illustrating difficulties emanating from translating culture-bound metaphor, the article will present a comparative analysis of two translations of one poetic text, thereby hopefully serving as a valuable contribution to the area of cultural metaphor translation by providing a range of translation possibilities starting from Dynamic Equivalence or idiomatic translation and continuing through literal and semantic translations. In doing so, the article has tackled strategies in the field of cultural metaphor translation, which will hopefully lead to further research.
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Linn, Stella. "Eerst Vertalen, Dan Lezen? De Invloed Van Vertalen Op De Leesattitude." Vertalen in onderwijs en beroep 45 (January 1, 1993): 53–64. http://dx.doi.org/10.1075/ttwia.45.08lin.
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We may assume that there is a relationship between the various ways in which literary texts can be interpreted, and the strategies that can be applied in their translation. Inevitably, translation strategies only pay attention to a limited number of aspects of the original text. It is, indeed, impossible to preserve all the aspects of a literary text in translation - the whole contents, the exact form, the rhythm, metaphors, puns and so on. This implies that the translator always has to choose so as to keep the features he considers most important, while giving up others. Since translation is a special kind of interpreting and reading, reading and translation strategies are bound to be interrelated. This paper deals with the influence of translating on the reading competence (and vice versa) and shows that when one is translating a text, one becomes more aware of the different ways in which it can be read and interpreted, and this, in turn, makes the translator more conscious of the choices (s)he can make. It is possible, then, to establish a 'hierarchy of priorities' in which the translator can take translation decisions more deliberately. I became aware of this influence of translating on reading attitude when I was leading a translation project at the University of Groningen, in which a group of students translated a number of poems of the Spanish poets Antonio Colinas and Julio Llamazares into Dutch. It appeared that during the classes, while we discussed the first Dutch versions of the poems, the students became gradually aware of a number of features they had not realized before, such as the intentional ambiguity of Colinas' word order, the use and significant position of certain key words, the musical qualities of the poems and the etymology of certain terms. This changing attitude brought about a number of modifications in our translations: the source texts were followed with more precision, importance was given to the preservation of various interpretations and the identification of key terms, the etymology of words was maintained wherever possible, the students tried to keep rhythm and musical effects and became sensitive to word order. This experience shows us that translation can have a useful place in the teaching of foreign languages, in that it sharpens the reading attitude, stimulates the analyzing and interpreting competences, and makes students more aware of the various choices they have when translating, and of the consequences these bring about.
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Beauvais, Clementine. "An emergent sense of the literary: Doing children’s poetry translation in the literature classroom." Journal of Literary Education, no. 2 (December 6, 2019): 8. http://dx.doi.org/10.7203/jle.2.14827.
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This article brings together findings from translation theory, the poetics of children’s poetry, and the pedagogy of translation, in an attempt to theorise the practice of poetry-translation in the literary classroom. I argue that translating children’s poetry in the context of translation workshops mobilises skills, and encourages ways of thinking about poetry, that espouse particularly well one of the complex challenges of literary education: namely, triggering in learners an emergent sense of the literary. Poetry-translation, I contend, allows for profoundly experiential engagement with some of the most sophisticated, and least easily articulated, aspects of the aesthetics of literature – prominently, the resistance of the literary text to paraphrase, the lack of a clear content-form dichotomy, and the embodied aspects of the literary encounter. Because translating is never just writing, but always already writing one’s reading, the translation of poetry in the literary classroom requires pupils to capture, experience, and take ownership of their encounters with literature, in order to re-express them. I first explain the practice of literary translation in the classroom; I then talk about contemporary poetry translation theory and its deeply phenomenological approach to text. I next show why the particular poetics of children’s poetry situate that kind of text ideally for a pre-semantic, intuitive approach to poetry translation. Finally, I look at the writing process as a way of turning the pupil into what Roland Barthes calls a poéticien, a person whose poetry-writing does theoretical work.
 Key words: children’s poetry, translation, literary education, aesthetics
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Remchukova, Elena N., and Ekaterina M. Nedopekina. "Difficulties in translating Russian classics: Pushkin’s novel “Eugene Onegin” in English and French." Russian Journal of Linguistics 24, no. 4 (2020): 945–68. http://dx.doi.org/10.22363/2687-0088-2020-24-4-945-968.
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A translator of classical literature is faced with the task of identifying the goal and methods of conveying the national originality of a generally recognized literary masterpiece. The article considers this problem in the context of translations of the novel in verse Eugene Onegin by Alexander Pushkin into English and French. At the same time, it raises the questions of the translators attitude to their own work, the depth of interpretation of the original, the degree of adaptation of the original text for a foreign reader. In addition, a matter of great importance is the translators assessment of the result of their own work, which is reflected in their comments and preface to the translated text. The goal of this research is to substantiate the importance of the linguistic and cultural function of comments and prefaces, which also made it possible to identify the features of the translations themselves and emphasize their continuity. When translating works of classical literature, translators do not limit their task to the translation itself. In this regard, the preface-commentary complex is viewed in the article as an important part of the translators work. The research material includes about 40 English and over 10 French translations made in the 19th, 20th and 21st centuries and presented in chronological order. Mainly those that are accompanied by prefaces and comments were selected for the analysis. The research helps to present the translations of the novel not only in terms of continuity, but also in terms of their authors critical attitude to each other, thus bringing these components of translation into the focus of a professional discussion. As a result of comparing various translations, it is possible to identify the difficulties of literary translation of the novel Eugene Onegin , which include the preservation of its poetic form, the panoramic nature of its composition, including scenes of life of the 19th century Russian nobility, and the national spirit associated with the translation of national and cultural vocabulary. The research confirms that the very fact of numerous translations of this novel, which is paradigmatic for the Russian culture, can be viewed as a form of its worldwide recognition, regardless of the professional and reader's assessment of these translations. This enables us to speak of the existence of a strong tradition that has developed in European translation studies around this particular work.
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Purnomo, Mulyo Hadi, and Baharuddin Baharuddin. "The specific cultural terms and expressions in the translation of literary work (novel)." E3S Web of Conferences 73 (2018): 14022. http://dx.doi.org/10.1051/e3sconf/20187314022.
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Specific terms in relation to geographic names and expressions of different culture often make difficulties for translators of literary works especially novel. This article is an investigation-based work on the translation work of an English-published novel into Bahasa Indonesia. The research studied the terms and expressions available in the translation version used by the translators in translating the novel into Bahasa Indonesia version. Some theories were applied in the data analysis such as the related factors that, during the translation, help the translator finish his work which sometimes is identified as a very difficult work, especially during making decision which translation theory to refer to and to apply as well as to select which principle to convey. This is crucial due to whether the translators should urge the receptor expression or to keep the original thought of the source terms. In some terms, translation should be faithful in one hand and beautiful in other hand, should be literal to keep the original and be free to smoothly pass the message to the readership. The research then showed that the translation is sometimes smooth but broken in other places. The research finally emphasized the truth of never-lasting dichotomy of translation between the attempt to maintain the form or the struggle for the content. This had long been discussed not only in years but also decade by decade even in centuries.
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Sanchez Ortiz, María Teresa. "The Use of Footnotes in Literary Translation." FORUM / Revue internationale d’interprétation et de traduction / International Journal of Interpretation and Translation 13, no. 1 (2015): 111–29. http://dx.doi.org/10.1075/forum.13.1.06san.
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Yablokova, Zhanna. "Trajectory of Vladimir Nabokov’s Literary Translation Practices." FORUM / Revue internationale d’interprétation et de traduction / International Journal of Interpretation and Translation 7, no. 2 (2009): 247–75. http://dx.doi.org/10.1075/forum.7.2.10yab.
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Vladimir Nabokov a débuté sa carrière de traducteur en rendant des textes accessibles à ses lecteurs, modifiant, par exemple, le cadre et les noms des personnages. Plus tard, il exigea de sa part et d’autres traducteurs des traductions « fidèles » et littérales. Ensuite, Nabokov dispensa de cette exigence les auteurs, lui-même inclus, qui traduisent leurs propres oeuvres. En tant qu’auteur de Lolita en anglais et comme traducteur de ce roman en russe, Nabokov, d’une part, accomplit une traduction « fidèle » du roman, tandis que, d’autre part, il apportait des modifications d’auteur qu’il estimait nécessaires. Cet essai démontre que la théorie et la pratique de la traduction chez Nabokov ont évolué au cours de trois phases distinctes mais qui finalement se recoupent. Certains critiques ont appelé la troisième et dernière phase « contradictoire ». Cependant, en considérant les trois phases comme trois étapes différentes du développement de Nabokov traducteur, l’auteur de cet essai propose que, au lieu d’être « contradictoire » ou antithétique, cette phase peut être perçue comme évolutive, correspondant ainsi au développement de Nabokov traducteur et écrivain.
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Merkle, Denise. "The Lutetian Society1." TTR : traduction, terminologie, rédaction 16, no. 2 (2005): 73–101. http://dx.doi.org/10.7202/010716ar.
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Abstract This paper will examine the role of the late-Victorian Lutetian Society translators (Alexander Teixeira de Mattos, their leader, Ernest Dowson, Havelock Ellis, Percy Pinkerton, Victor Plarr, Arthur Symons) as translating subjects and cultural agents, united by the “cause” of providing British readers with unexpurgated translations of some of Émile Zola’s maligned, if not banned, masterpieces so that they might be able to form an unbiased opinion of the literary merits of the works. Furthermore, the paper will explore what motivated these translators to join in this clandestine translation project and try to give some insight into the effect of their (re)translation activity on their personal appreciation of Zola and the novel translated. The paper concludes that the act of (re)translation served to expand the cultural horizons of the Lutetian Society translators. Their translations would, in turn, expand the cultural horizons of those who read them.
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Mana Aleahmad. "The Effect of Ideology on the Form and Content of Edward FitzGerald’s Translation of Khayyam's Rubaiyat." LingLit Journal Scientific Journal for Linguistics and Literature 2, no. 2 (2021): 75–82. http://dx.doi.org/10.33258/linglit.v2i2.461.
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The present study attempted to examine Edward FitzGerald, who would translate Omar Khayyam's Rubaiyat (1859), was interested in Persian poetry. Translation deals with power and authority and most of the time the ideology of source text changes in favor of the dominant ideology of target text. Victorian people‘s scornful outlook toward East led to ideological manipulation of source texts by translators such as Fitzgerald. His strange reduction in his translations, especially in Khayyam's Rubaiyat results in the necessity of investigating his translation from ideological point of view. Surprisingly translation of Khayyam’s Rubaiyat has never been studied from ideological perspective and is unknown for many literary scholars. Victorian issues had a strong effect on FitzGerald‘s selection of some Khayyam's Rubaiyat.
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Fakhrutdinova, Liliya I., and Venera R. Amineva. "Translation as a Form of Cross-Literary Dialogue (On the Material of the Translation of A. Yeniki’s Novel “Unvoiced Will” by S. Khozina)." Polylinguality and Transcultural Practices 17, no. 1 (2020): 45–58. http://dx.doi.org/10.22363/2618-897x-2020-17-1-45-58.
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The Russian reader, who doesn’t know tatar language, can get to know A. Yeniki’s works only through their translated versions, that is why we need to analyze structural features of and the content of the translated texts in the aspect of cross-literary communication and dialogue. Jenre-stylistic transformations of the authentic work in the translated texts are revealed on the base of their comparative analysis. The base is his view on the translation as a form of the dialogue of cultures, reflecting interaction not only various national languages, but artistic models of the world as well. It is stated that, S. Khozinaresorts to the nazira genre in her translation of the “Unspoken will”. The main directions in which the cooperation of the translator and the author of the work is carried out are revealed: depiction of the inner world of the character is changed; the lyrical orientation of the narrative is enhanced; philosophical subtext of the told story is actualized, incriminating tendency deepens. The results obtained can be used in the solution of current problems of intercultural communication and the dialogue, in the preparation of the comments to translations of A. Yeniki’s works for the Russian reader.
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BEDNÁROVÁ-GIBOVÁ, KLAUDIA. "EXPLORING THE LITERARY TRANSLATOR’S WORK-RELATED HAPPINESS: THE CASE STUDY OF SLOVAKIA." Across Languages and Cultures 21, no. 1 (2020): 67–87. http://dx.doi.org/10.1556/084.2020.00004.
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Abstract:In compliance with Translator Studies and its accompanying sociological turn the translator’s work-related happiness is beginning to attract the attention of scholars after having been largely sidestepped in empirical translation studies (TS) research. Although it could be objected that the issue of happiness offers ground only for speculative philosophy, it became a subject of research in the humanities and more recently also in TS. As much as culture dictates that literary translation is an elegant avocation, the harsh reality in Slovakia is that it can be considered as a form of activism in the context of being scandalously underpaid when compared to other translation segments. This paper aims to determine the perception of work-related happiness in Slovak literary translators based on Veenhoven’s (2015) concept of happiness and seeks the greatest sources of their satisfaction at work. The second part of the paper attempts to identify the literary translators’ affective feelings, using the IWP Affect Questionnaire. The results of this study shed fresh light on the psychological and emotional facets of the literary translator’s persona using a triangulation of insights from psychology, identity studies and TS. A quantitative enquiry into the selected translator habitus offers research stimuli for comparison with other literary translators’ nationalities as well as other translation segments.
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Ni, Xiuhua. "Translating the socialist nation." FORUM / Revue internationale d’interprétation et de traduction / International Journal of Interpretation and Translation 15, no. 1 (2017): 28–50. http://dx.doi.org/10.1075/forum.15.1.02ni.
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Abstract The first seventeen years of the People’s Republic of China (PRC, 1949–1966) was a critical period for the newly established nation to gain international recognition. The period witnessed a unique translation activity, i.e. SL-generated translation of a large number of classical and modern Chinese literature into English and other foreign languages. These state-sponsored translations were mainly undertaken by teams of Chinese and foreign translators in the Foreign Languages Press (FLP) in Beijing. This paper aims to explore how literary translation was used for nation branding and promoting Chinese communism abroad. It reveals the political agenda behind the outward translation activity. It goes on to probe into the patronage of the FLP to disclose the relationship between the translating institution and the political discourse on the nation. Lastly, the study of the English translation of Linhai Xueyuan (林海雪原), i.e. Tracks in the Snowy Forest, a bestseller representative of the ‘revolutionary novel’ of the time, will show that the adaptations aim at recasting revolutionary characters as “perfect” heroes so as to project an ideal image of the modern Chinese nation. The paper concludes with a call to integrate outward translation into TS. Based on Luhmann’s sociology of communication it provides a preliminary observation on the reception of the PRC’s export enterprise, which, more often than not, turned out to be counterproductive.
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Sutton-Spence, Rachel. "Considerations for translating “Grande Sertão: Veredas” into Libras." Revista da Anpoll 1, no. 44 (2018): 192–206. http://dx.doi.org/10.18309/anp.v1i44.1143.
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This essay provides an annotated translation with commentary of the title and opening three short sentences of João Guimarães Rosa’s “Grande Sertão: Veredas” from Portuguese into Brazilian Sign Language, Libras. A Libras translation uses elements of space and highly iconic structures to recreate the story is a visual form. The commentary here considers the challenges involved in translating the brief section of the Portuguese text, including accommodation of deaf literary norms to those of contemporary Brazilian society, the search for appropriate Libras signs for the regionally specific context of the novel, the needs of a deaf audience to see the visual aspects of the story, and the decisions made on how to represent GuimarãesRosa’s idiosyncratic style of Portuguese in Libras. It highlights the importance of the sign language translator working as a “translator-actor” where the written text told in first person is translated into Libras, producing a translation that is embodied and presented by the translator, who takes the role of the narrator’s “I”.
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Supardi, Moh Supardi, Hasnul Insani Djohar, and Frans Sayogie. "Utilizing Translation Equivalence in J.K Rowling’s Harry Potter in the Phoenix New Order." International Journal of Linguistics, Literature and Translation 4, no. 5 (2021): 126–35. http://dx.doi.org/10.32996/ijllt.2021.4.5.12.
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Many scholars have offered many theories to solve the problems of literary translation. However, the quality of literary translation remains a big burden and challenge for many translators due to literary translation often encounters the problems of fluency, accuracy, register, flexibility, a feeling for style, an appreciation of nuance, and transparency (Landers, 2001, p.13). The subjectivity in the interpretation of the source language message, the motion of stylistic faithfulness, and flexibility as regards the form of the source text and the greatest possible degree of the impracticality of an adequate translation have led to the problem of equivalence. Indeed, such problems of translation equivalence that are invoked by the translation process may bring serious problems to literary translation. The paper aims to seek the problems of non-equivalence in literary translation and to apply the concept of translation equivalences proposed by Mona Baker within and above the word levels grammatical level, textual level, and pragmatic level. By using Baker’s concept of the equivalence functions, this paper provides strategies to deal with non-equivalence problems found in J.K Rowling’s novel Harry Potter in the Phoenix New Order. This paper has found that the translation of the Phoenix New Order novel bears non-equivalencies in the level of the word, above word, grammatical, textual, and pragmatic. Thus, translators need to apply several strategies, especially the concept of translation equivalence, in their translating process to ensure effective and efficient translation.
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Soleymani Yazdi, Sajad. "Dis-contenting Khayyam in the Context of Comparative Literature: An Invitation to Translating Rubaiyat with a Focal Shift from Content to Form." International Journal of Comparative Literature and Translation Studies 7, no. 1 (2019): 24. http://dx.doi.org/10.7575/aiac.ijclts.v.7n.1p.24.
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Since its conception in France in 1877, Comparative Literature, always subject to a critique of Eurocentrism, has been in a state of perpetual crisis. In “The Old/New Question of Comparison in Literary Studies: A Post-European Perspective” (2004), Ray Chow argued for a Post-European perspective in which comparatists begin with the home culture and look outwards to the European cultures, contrary to the dominant approach of doing just otherwise. Missing in Chow’s argument is the position of translation in this post-European perspective. In the 14 years between 2004 and 2018, the grandiose claims of comparative literature have been problematized and addressed; the lay of the land, however, remains predominantly Eurocentric, as it still focuses on content disproportionately. In this paper, through a study of English translations of Khayyam’s Rubaiyat, and taking Chow’s argument further, I argue that with its commitment to transfer the form of a text as much as the content, translation studies can further help comparative literature to distance itself from Europe. To exemplify the implication of this, I suggest that a translation of Khayyam’s Rubaiyat from Farsi to English would be more faithful to the original if its translations were to focus on the poem’s form rather than the content. I argue that translating with a focus on form would foreignize Khayyam’s poetry, hence an act of resistance against cultural hegemony.
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Teilanyo, Diri I. "Figurative Language in Translation: A Study of J.P. Clark’s The Ozidi Saga." Meta 52, no. 2 (2007): 309–26. http://dx.doi.org/10.7202/016073ar.
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Abstract The interlingual translation of figurative expressions and idioms is a particularly sensitive task, especially in literary texts where the figurativeness of the language is an inalienable part of the text as a literary piece. Since modern thinking on translation favours fidelity to the source text, the translator is required to maintain – rather than improve, reduce or otherwise alter – the figurative texture of the source text in the target text. In this paper, we investigate the felicity of J.P. Clark’s Izon-English translation in his The Ozidi Saga. We point out that felicitous as Clark’s translation is in general, there are noticeable cases of improvement, impoverishment and alteration, alongside full equivalence, in the figurative texture of the translation when viewed against the Izon text by a sensitive Izon- English bilingual. From this we argue that any form of alteration is a literary disservice to the source text, the source culture and the target audience. We propose that the literary translator should do his utmost to retain the figurative level of the source-text language in the target text, even if this involves literalism and some other violation of the basic code of the target language while annotations and glossaries may be freely employed.
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Miššíková, Gabriela. "EXPLORING THE PERFORMATIVE FUNCTION IN LITERARY TRANSLATION: THE TRANSLATOR’S PURPOSE." Discourse and Interaction 12, no. 2 (2019): 29–45. http://dx.doi.org/10.5817/di2019-2-29.
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This paper examines the application of text-act theory in literary translation, attempting to evaluate its efficacy in the analysis of larger texts, such as novels. The texts that form the material basis for this examination are the Slovak novel Dunaj v Amerike (2010) and its (authorized, unpublished) English translation Danube in America (2016). The main research objective is to compare the performative function in the Slovak source text (ST) and the English target text (TT), implementing the concept of the pragmatic translator as suggested by Morini (2008, 2012). Aiming to discover the relationship between the performative function of the TT and its actual perception by TT readers, the research project was realised involving the participation of the translators 1 and TT recipients.
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Costa, Cynthia Beatrice, and Igor A. Lourenço da Silva. "On the Translation of Literature as a Human Activity par Excellence." Aletria: Revista de Estudos de Literatura 30, no. 4 (2020): 225–48. http://dx.doi.org/10.35699/2317-2096.2020.22047.
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The quality of state-of-the-art machine translation systems have prompted a number of scholars to tap into the readiness of such systems for “literary” translation. However, studies on literary machine translation have not overtly stated what they consider as literature and mistakenly assume that literary translation is a matter of transferring meaning and/or form from one language into another. By approaching literature as art and literary translation as an artistic work of re-creation, we counterpoint, in this article, the notion that literary machine translation can be seen as an indisputable evolution within translation technology. Ethical concerns may well be utilitarian in studies to date, but by advocating for a deontological approach, we consider that aesthetical value, cultural mediation (which includes the use of paratexts), and authorship of literary translation (should) rank higher in our ethical assessments of the feasibility and actual contributions of literary machine translation.
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Boichenko, Mykhailo, and Bohdan Bondarchuk. "Language creativity and the estrangement of language: not friends, neither enemies of the translator." Filosofiya osvity. Philosophy of Education 26, no. 2 (2021): 155–67. http://dx.doi.org/10.31874/2309-1606-2020-26-2-11.
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The article is devoted to the analysis of the special place of language creation and the estrangement of language in literary and professional translation. The research methodology is determined by the search for a balance between the approach to the internal form in Oleksadr Potebnia’s school and to the external form in literary formalism. To make translation a solid foundation for education, it must be correct. The reliability of translation should be based on adequate translation practices, which are determined by following the correct principles of handling the language of translation. Hermeneutics focuses on the language of the original text, revealing its hidden meanings and alternative interpretations. Instead, professional translation also takes into account the creative potential of the language of translation. If in previous times the translator was a servant of the author of the original, then in the age of postmodern and intertextuality the translation sometimes turns into a kind of quest for the reader, and even an experienced consumer of translation does not always manage to unravel the translation idea and reproduce the author's original text intention. All this raises the question of the admissibility of language searches – language creation, estrangement of language, etc. – in translation. The translator inevitably appears as another author, which must, however, be minimally tangible to the reader. Only as an exception, the merit of a good translator is language creation, but where it is really needed: the translator have to be a language creator – at least not worse than the author of the original text. Often the translator acts as a co-creator of the native language – because it is through him that foreign words, artistic images, new language themes and language forms usually come into the language. This is especially evident in the translation of poetic works. Renaissance and Baroque give classic examples of active work of translators as creators of the language. In Ukrainian history, such features were generously endowed with the Ukrainian avant-garde of the early twentieth century.
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Littau, Karin. "Performing Translation." Theatre Research International 18, no. 1 (1993): 53–60. http://dx.doi.org/10.1017/s0307883300017570.
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Both actor and translator, and by extension translation and performance suffer the plight of second hand art. Disloyal to their original masters they commit adultery. Thus, translation and performance become the unfortunate bastards of literature. If translation is meant to overcome the difference between itself and its other, performance is accused of playing it out and playing up. Such is the attitude which both have shared in each of their respective literary histories. The emphasis here is on literary history, for it assumes the tyranny of the text, the sacredness of the word. The quest for the origin, the reconstruction of the original greatness will always follow the linear path to the bastardized version, towards its own inferiorization. Precisely because translation and performance share this secondary status, this paper will adopt the metaphor of translation and adapt it to describe the relationship between text and performance. Translation here will be taken as that process which underlies any meaning production; it will not be reduced to a merely linguistic motion, nor seen in the form of an obvious reduplication, but as a complex interrelation between two elements. We will thus examine the translatory processes between text and performance before exposing the most illegitimate member in this affair: the translated dramatic text.
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Pospiszil, Karolina. "Bibliografia przekładów na język śląski w latach 2002—2018 / Bibliography of translations into the Silesian language in the years 2002—2018." Przekłady Literatur Słowiańskich 9, no. 2 (2019): 103–18. http://dx.doi.org/10.31261/pls.2019.09.02.06.
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The bibliography includes translations into the Silesian language made both in the standard script as well as in the non-standard one. The starting point for translations into the contemporary Silesian may be dated back to 2002. Since then, there have been irregularly published, usually in the form of collections, translations of various literary genres (with a preponderance of poetic forms) from dozen or so world languages, such as: Greek, Latin, French, German, Polish, Mandarin Chinese, English, Welsh, Russian, or the Upper Sorbian. No single translation from Silesian into other language is included, since heretofore no such a translation has been made.
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Frank, Mary Catherine. "One text, two varieties of German: fruitful directions for multilingual humour in “translation”." European Journal of Humour Research 7, no. 1 (2019): 91. http://dx.doi.org/10.7592/ejhr2019.7.1.frank.
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A heterolingual text is characterised by the presence of two or more different languages, or two or more varieties of the same language (Corrius & Zabalbeascoa 2011: 115). This article discusses possible methods of translating into English of a text containing two varieties of German: Ottokar Domma’s Der brave Schüler Ottokar [The Good Schoolboy Ottokar]. In these stories, about a schoolboy growing up in the German Democratic Republic (GDR) in the 1960s, Domma creates a zone of friction between child narrator Ottokar’s everyday German and the language of GDR officialdom (“official discourse”). This article first shows that following a conventional method of translating a literary text into English does not allow this satire to be conveyed to the reader. It then presents two alternative translational methods — “thick” and creative — that demonstrate how it is helpful, indeed in some cases necessary, for the translator to adopt a broad understanding of “translation” in respect of texts that exploit multilingualism for humorous purposes. It is argued that methods of translating in which effect is privileged over form — which here included introducing multimodality — can serve well to open up heterolingual humour for speakers of other languages.
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Washbourne, Kelly. "Translation, Littérisation, and the Nobel Prize for Literature." TranscUlturAl: A Journal of Translation and Cultural Studies 8, no. 1 (2016): 57. http://dx.doi.org/10.21992/t92h02.
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This work is a cultural economics study of the problem of translation production and assessment in and leading up to the literary Nobel Prize deliberations. I argue that the constraints of assessing an unevenly and partially translated body of literary works, many of them from less common languages, present an unbreachable expertise gap. Translation as a sacralization, or consecration in Casanova’s (2004) term, of a writer’s work is considered in the context of the award. Ultimately the prize is shown to depend upon translations carried out in dissimilar circumstances for each candidate. The award of the Nobel is part of the founder’s call for works to be more widely circulated, not to reward fame; thus a Nobel is more an invitation to translate than a recognition of an author in translation, although evidence suggests that the post-Nobel translational impact may vary by writer and over time. This study sheds light on the degree to which the Prize is an authority-mediated phenomenon, and while critiquing the quixotic task of judging disparate forms and amounts of cultural capital side by side, and never from a point of neutrality, it also attempts to show how translation shapes this symbolic form of prestige in the struggle for existence. I posit that alternative prizes and prize-awarding in general as fraught with similar cross-language challenges. Possibilities for future research, qualitative analysis of the Nobel and translation demand, among other consequences, are briefly sketched.
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Benabed, Fella. "Ethnotextual mental translation and self-translation in African literature." Ars Aeterna 9, no. 2 (2017): 71–80. http://dx.doi.org/10.1515/aa-2017-0010.
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Abstract Interest in African literature and translation is relatively new; it mainly emerged in the 1990s with the postcolonial turn in translation studies, under the influence of the cultural turn, the polysystems theory and the “Manipulation School”. Many African writers describe themselves as intercultural translators; they hover over the following questions: Is it a form of selfdenigration not to use one’s mother tongue as a medium of literary creation? How can their literary creations account for their postcolonial experience in the languages of former colonizers? Can these languages render the specificities of their distinct cultural worldviews? The linguistic choice made by African writers is hence highly political because it involves a compromise that rests on power relations. Their writing often involves a sort of translation from Source Language (SL) to Target Language (TL) whether through ethnotextual mental translation or self-translation.
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Florya, A. V. "“SHESTON” OF S.G. SHESTAKOV AS A VARIETY OF A CENTON." Bulletin of Udmurt University. Series History and Philology 31, no. 2 (2021): 353–58. http://dx.doi.org/10.35634/2412-9534-2021-31-2-353-358.
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The subject of this article is the original genre of literary games. Its creator is a translator S.G. Shestakov. This genre is a species of centon and is called a sheston. Unlike the traditional centon, it is combined from literary translations of the same text made by different authors, and the use of two lines from the same translation is not allowed. Sheston requires masterly technique, a sense of stylistic unity and a sense of humor, since this is a game genre. This form is associated with significant technical difficulties, therefore, shestons are best compiled on the basis of texts with sufficient autonomy of its structural elements. The article is written on the basis of three composite versions of Shakespeare’s sonnet 66.
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Briggs, Kate. "Translation and the Lipogram." Paragraph 29, no. 3 (2006): 43–54. http://dx.doi.org/10.3366/prg.2007.0002.
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This article argues for a definition of translation as a form of writing under constraint. Quite straightforwardly, the translator must write the original text again in a language other than the one in which it was originally composed. Both inhibiting and enabling, that restriction is also translation's resource, ensuring its distinctiveness as a writing practice and providing the key to its unique transformative possibilities. Like lipogrammatical writing, translation is inaugurated by its constraint. The article explores the affinity between translation and the lipogram with reference to Georges Perec's La Disparition, where the prohibition of the letter e initiates a peculiarly inventive kind of writing. Peculiarly inventive, because the effects generated by writing without a given letter of the alphabet, or by writing a given text again in another, altogether different, language, are essentially unprogrammable: we do not know what is going to happen.
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Osovska, Iryna, and Liudmyla Konopelniuk. "PECULIARITIES OF THE TRANSLATION INTO GERMAN LINA KOSTENKO’S POETRY." Germanic Philology Journal of Yuriy Fedkovych Chernivtsi National University, no. 831-832 (2021): 252–59. http://dx.doi.org/10.31861/gph2021.831-832.252-259.
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The article is devoted to the classification and analysis of the German-language translations of Lina Kostenko's poems based on the material of the lyrical collection "And again the prologue" translated by Alois Woldan. The article introduces the theoretical foundations of poetry translation as a separate type of literary translation, examines its genre-specific features, and analyses the features of the modern Ukrainian poetry and the author's style of Lina Kostenko, which jointly form the basis for further comparison of the original example and the translation. The paper shows the main difficulties that Alois Voldan faced interpreting the poems, describes the ways of overcoming them and offers a qualitative assessment of the translation. The lexical and stylistic analysis showed the wide usage of the poetic instruments in his works of pictorial and expressive language as well as aphorisms. However, to preserve the idea and reproduce the ideological motives, Alois Voldan avoided literal translation and resorted to the descriptive translation of these linguistic means. When translating lexical tautologies, which are widely inherent in Lina Kostenko's poetics, the translator replaced lexical units, graphic signs, sentence structure and transferred repetitions from one line to another to preserve emotionality and expressiveness in lyric poems. When we look closely at the grammatical level of translation, there are replacements of grammatical constructions and parts of speech. We also recognize the addition of new parts of speech that are missing in the original poem. The reason for such transformations was the differences in the grammatical structures of the German and Ukrainian languages, and the translation strategies used to preserve the rhythmic and melodic pattern of the poems. A special place is given to the characteristics because of the national specificity of poetry and the translation of its semantic equivalent. That is, the reason why the translation is used primarily for intercultural communication, and the translator, in this case, is an intercultural mediator. But Alois Voldan managed to convey the thematic orientation of the poems and the Ukrainian colour.
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Agorni, Mirella. "A Marginal(ized) Perspective on Translation History: Women and Translation in the Eighteenth Century." Meta 50, no. 3 (2005): 817–30. http://dx.doi.org/10.7202/011598ar.
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Abstract Translation was a prestigious activity in Britain in the Eighteenth Century, and the field was divided into two distinct areas: translation from the classics (focusing on Latin and Greek authors) which was a male-dominated territory, and translation from modern languages (French, German, Italian and Spanish) which was one of the few literary genres open to women. Yet, there were some significant exceptions in the area of the classics. I will analyze the case of Elizabeth Carter (1717-1806), the celebrated translator of Epictetus from the Greek, who developed a particularly original approach to translation, by adopting an ingenious form of proto-feminist collaboration with her friend Catherine Talbot (1721-70).
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Fischer, Klaus. "Cleft Sentences: Form, Function, and Translation." Journal of Germanic Linguistics 21, no. 2 (2009): 167–91. http://dx.doi.org/10.1017/s1470542709000257.
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Although cleft sentences are possible constructions in both English and German, they are far more frequent in English texts. Durrell (2002: 479) observes in his Hammer's German Grammar and Usage that “with the exception of the type Er war es, der mich davon abhielt […], cleft sentence constructions sound unnatural in German and should be avoided.” The article discusses the form and function of cleft sentences in the context of other focusing devices. It shows that, although German and English cleft sentences have the same information structure, their stylistic value is very different. Using a short translation, Durrell's observation is confirmed: in translating cleft sentences into German, semantic equivalence is often sacrificed for stylistic appropriateness. Although structural features of both languages are the ultimate cause of the contrast, they cannot explain choices in each individual case. The article argues that structural typology should be complemented with a typology of parole: the respective frequencies of cleft sentences in both languages reflect neatly into the more verbal style, more hierarchical sentence construction and, in certain respects, greater semantic transparency of English texts (by comparison with their German counterparts).*
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Zlatnar Moe, Marija. "The Fifth Slovene Hamlet: Return to Tradition?" Multicultural Shakespeare: Translation, Appropriation and Performance 16, no. 31 (2017): 127–43. http://dx.doi.org/10.1515/mstap-2017-0023.
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Over the nearly two centuries that Hamlet has been a fixture of the Slovene cultural firmament, the complete text has been translated five times, mostly by highly esteemed figures of Slovene literature and literary translation. This article focuses on the most recent translation, which was done by the prominent Slovene drama translator Srečko Fišer for a performance at the National Theatre in Ljubljana in 2013. It examines the new translation’s relations to its source text as well as to the previous translations. After the late twentieth century, when Hamlet was regarded as a text to be challenged, this new translation indicates the return to the tradition of reverence both for the source text and its author, and for the older translations. This is demonstrated on all levels, from the choice of source text edition, which seems to bear more similarities with the older translations than with the most recent predecessors, to the style, which echoes the solutions used by the earlier translators. Fišer continues the Slovenian tradition to a far greater extent than the two translators twenty years ago, by using the same strategies as the early translators, not fixing what was not broken, and only adding his own interpretation to the existing ones, instead of challenging or ignoring them. At the same time, however, traces of subversion of the source text can be detected, not in the form of rebellion, but rather as a mild disregard. This latest translation is the first one to frequently reshuffle the text. It is also the first to subordinate meaning to style. This all indicates that despite the apparent return to tradition, the source text is no longer treated with the reverence of the past.
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Ursa, Andra Iulia. "Collocation and connotation in chapter “Scylla and Charybdis” of James Joyce’s Ulysses. An analytical study of the Romanian translation." Swedish Journal of Romanian Studies 3, no. 1 (2020): 152–67. http://dx.doi.org/10.35824/sjrs.v3i1.20460.
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The present article was written as part of the PhD dissertation entitled “An analysis regarding the evolution of James Joyce’s writing style in ‘Dubliners’, ‘A Portrait of the Artist as a Young Man’ and ‘Ulysses’ and the strategies of translating it into Romanian”. The research starts from the hypothesis that a perfect rendition in a different language of a literary text of this type is nothing more than a utopia. However, a translator should always intend to achieve an equilibrium between the author’s intentions, the form, the content and the target culture. In “Ulysses”, James Joyce experiments with language, abandoning the definition of sense and revolutionises the art of expressing thoughts through words. The current work will concentrate on the thorough analysis of adjectival and adverbial collocations conceptualized in the ninth chapter of “Ulysses”. Our purpose is to investigate how Mircea Ivănescu’s Romanian translation deals with collocations and especially with those that typically represent Joyce’s authorial style. Mircea Ivănescu (1931-2011) is a Romanian poet and the sole translator who accomplished the difficult task of translating the entire novel, although there had been various attempts at translating only chapters of it. It is an approved work of translation, having received both praise and critical appreciation. After more than three decades from this chapter’s translation, our research aims for a further exposition of the similarities and distinctions between the source language text and the target language translation.
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Lakhtionova, K. "TRANSLATION ERRORS IN TRANSLATIONS OF FICTION TEXT OR TRANSMITTING TRACKERS." PROBLEMS OF SEMANTICS, PRAGMATICS AND COGNITIVE LINGUISTICS, no. 33 (2018): 210–17. http://dx.doi.org/10.17721/2663-6530.2018.33.15.
Full textAbstract:
Everything has been changing all the time in our world. It concerns language and literature as well. New traditions are being formed, and old ones die. Literary activity (creativity) could not avoid such changes: flexible natural form (shape) came instead of classical writing, instead of classical writing, great and sentimental, inherent to French literature. Bokacho`s Style and perfectionism in language mean following the rules of language standard, starting from XIII century and finishing XVIII. Padre Grande was criticized too for glorification of Toskana literary language and humiliation of local dialects. Outstanding personality of Dzhuzeppe Parini appears in early period of defining his positions, ignoring linguistic polemics, avoiding different extremes and exaggerations. Parini demonstrates society in ironic style, old such as “batrachomyomachia” – ironic “Illiada”, Moskeida” – Orlando`s statements: epical forms reflect plebeian picture of the world. Irony – is a kind of obsolete society, which didn`t understand its decline. Obsolete does its best to pretend modern, the more proud is the style, the poorer it is. This is the essence of Parini`s conception incarnated in his literary work “Giorno”(Day) which is based on irony, deep and sad. There are no doubts, that after the research and discuss about Parini, after publications of the translation in Spanish, not only ceased, but gained great interest of literary researches. It is clear, that some mistakes in translations were done, but we are not judges. The most important is basic content which is presented in the introduction of A. Prieto. Analyzing translator`s mistakes from Italian language of original text into Spanish we have to focus on key phrase of Maris Isabel Honsales-Fernandes, that Spanish has not a lot in common with Italian. It is evident especially in translation of lexical units, where the translator did mistakes, that demonstrates not appropriate level of Italian language knowledge. We can call this phenomenon “amici falsi del traduttore”, ignorance of particular lexis and meaning that lexical unit can have in both languages. This ignorance led to misunderstanding even to ugliness and curvature of original text. The translator Marselo Arroyita-Chauresi, who is a poet himself, is much more to be desired. He has tried to follow the text of original in some cases. But he was not successful in his attempts. You can just imagine Spanish translation to be translated into language of original even being of 200 years old, which we could receive. Not a proper level of the Italian language and misunderstanding of some words, which in Spanish and Italian sound the same way. Translator`s work – hard labour which needs flawless knowledge of the language of original not to loose while translating artistic value or even to deface author`s concept. It just verifies common known truth: not to ignore even the slightest peculiarities of the text of original. The translator has to know lexis and a grammar perfectly, be able to use translator`s transformations in order to avoid such phenomena as failed translation and misrepresentation of the content of the text, especially if it is a poetry.