Comparing translations of literary texts using language technologies: sentiment analysis of translations of Don Quixote

Abstract This article uses the Digital Opinions on Translated Literature (dioptra-l) corpus to study readers’ perceptions of and responses to translation in a naturalistic setting, focusing on the normative constructs or cognitive-evaluative templates they use to conceptualise, evaluate and respond to translations. We answer two main questions: (1) How visible, or salient, is the fact of translation to readers reading a translated literary text, and are there differences in the degree and nature of this visibility for different languages and translation directions? (2) What are the main concepts, and emotional and evaluative parameters that readers use to describe translated literary texts, and are there differences in these concepts and parameters when considered by different translation directionalities and genres? We make use of computational methods, including collocational network analysis, keyword analysis, and sentiment analysis to extract information about the salience of translation, and the networks of emotive and evaluative language that are used around the concept of translation. This forms the basis of our proposals for particular cognitive-evaluative templates.

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GIFTING PAIN: THE PLEASURES OF LIBERAL GUILT INLONDON, A PILGRIMAGEANDSTREET LIFE IN LONDON

Victorian Literature and Culture ◽

10.1017/s1060150312000241 ◽

2013 ◽

Vol 41 (1) ◽

pp. 91-123 ◽

Cited By ~ 2

Author(s):

Tanushree Ghosh

Keyword(s):

Paradise Lost ◽

Lower Class ◽

Divine Comedy ◽

Don Quixote ◽

Literary Texts ◽

Social Investigation ◽

Daily News ◽

Gift Books ◽

Social Exploration ◽

Idylls Of The King

In 1872, Blanchard Jerrold and Gustave Dorébegan publishing their lavish travelogue,London, a Pilgrimage. Much renowned for his illustrations ofDivine Comedy,Don Quixote,Paradise Lost,Idylls of the King, and other significant literary texts, Doré's considerable reputation as an artist fetched him a staggering sum of ten thousand pounds as payment for his work inLondon, a Pilgrimage. Jerrold, responsible for conceptualizing the project, was an established liberal playwright and journalist, often contributing pieces to theDaily News,Illustrated London News, andAthenaeum.Looking for interesting material, Jerrold and Doré traveled all over London; Doré often made notes on the spot and finished the illustrations later. Seeking to situate their work within the field of social exploration, Jerrold and Doré referenced Henry Mayhew's reformist journalistic series,London Labour and the London Poor. Jerrold claimed that their social investigation would reproduce for contemporary readers Mayhew's categories of “those who work, those who cannot, [and] those who won't work” (“Frontmatter”). Volumes ofLondon, a Pilgrimage, however, were reviewed as gift-books in various periodicals; theExaminer, for example, reviewed it in the “Christmas-Books” section, indicating that these volumes, which contained pictures of lower-class shanties and miserable, under-fed people, were being gifted and enjoyed (“Christmas-Books”).

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The Presence of María de Velasco in Pinar’s Juego trobado, in the Carajicomedia, and in La novela del licenciado Vidriera by Cervantes

Magnificat Cultura i Literatura Medievals ◽

10.7203/mclm.8.16552 ◽

2021 ◽

Vol 8 ◽

pp. 33

Author(s):

Roger Boase

Keyword(s):

Don Quixote ◽

Literary Texts ◽

Card Game ◽

Main Character ◽

Novelas Ejemplares ◽

The Arts ◽

Chivalric Romance

Research on the court ladies who participated in Pinar’s Juego trobado, a card game in verse completed in 1496, led to the discovery that María de Velasco, wife of Juan Velázquez de Cuéllar, and adoptive-mother of Ignatius Loyola, subsequently appears in several literary texts, the first of which is the Carajicomedia, where she is metamorphosed into an old prostitute skilled in the arts of seduction. Surprisingly, I have detected her presence in La novela del licenciado Vidriera, one of Cervantes’ Novelas ejemplares: each of the names of the main character, given or adopted during the course of his life, is linked in some way with this lady; and, furthermore, there are other correspondences, above all the symbolism of the quince. This begs the question whether the tale was intended to convey a coded message, and if so, one wonders what kind of message. This discovery also seems to add some credence to the theory that in Don Quixote Cervantes wished to parody the life of Ignatius Loyola as well as the heroes of chivalric romance.

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Humor in der Therapie. Lachend auf Distanz gehen, Ängste lachend besiegen

Musik- Tanz und Kunsttherapie ◽

10.1026//0933-6885.14.3.139 ◽

2003 ◽

Vol 14 (3) ◽

pp. 139-157

Author(s):

Gudrun Hofmann

Keyword(s):

Don Quixote ◽

Miguel De Cervantes ◽

Don Quijote ◽

Richard Strauss ◽

Sancho Panza

Zusammenfassung. Don Quijote und Sancho Panza, von Miguel de Cervantes Saavedras 1605/1612 geschaffene Romanhelden, erfreuen sich auch im Jahre 2003 eines großen Bekanntheitsgrades und sind als komisches Paar berühmt geworden. Beide verstricken sich in Abenteuer, die einzig ihrer Fantasie erwachsen. Im folgenden steht das Komische - aus nicht der Norm entsprechendem Verhalten oder aus wahnhaften Imaginationen erwachsend - in der literarischen Vorgabe wie auch in dem sinfonischen Tongedicht “Don Quixote“ von Richard Strauss im Mittelpunkt. Daran schließen sich Überlegungen zu einer tänzerischen Umsetzung im Rahmen eines therapeutischen Settings an. Es wird analysiert, wie sich Menschen mit unterschiedlichen Persönlichkeitszügen (resp. -störungen) darin wiederfinden können und wie die Charaktere von Don Quijote und Sancho Panza im Sinne einer eigenen Interpretation weiterentwickelt werden können. Aspekte der von Helmut Plessner vertretenen anthropologischen Betrachtungsweise des Lachens beleuchten die nur dem Menschen eigene Fähigkeit komisch zu sein und Komisches wahrzunehmen.

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Szasz on Drugs: Don Quixote in the Pharmacy.

Contemporary Psychology ◽

10.1037/014593 ◽

1976 ◽

Vol 21 (10) ◽

pp. 679-680

Author(s):

RONALD K. SIEGEL

Keyword(s):

Don Quixote

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Don Quixote or Don Quijote.

Nature Medicine ◽

10.1038/nature.2012.11773 ◽

2012 ◽

Author(s):

Anne-Marie Labbate ◽

Cilantro ◽

Cervantes

Keyword(s):

Don Quixote ◽

Don Quijote

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Study of Sentiment of Governor's Election Opinion in 2018

International Journal of Scientific Research in Science Engineering and Technology ◽

10.32628/ijsrset21841124 ◽

2018 ◽

pp. 231-238

Author(s):

Agung Eddy Suryo Saputro ◽

Khairil Anwar Notodiputro ◽

Indahwati A

Keyword(s):

Sentiment Analysis ◽

Naive Bayes ◽

Naïve Bayes ◽

Addition Method ◽

Sentiment Mining ◽

Positive Sentiment ◽

Ale na razie tu cisza” – fotografie sprzed katastrofy w wybranych zapisach literackich (Stefan Chwin, Ryszard Kapuściński, Wisława Szymborska)

Przegląd Humanistyczny ◽

10.32798/2657-599x.ph.2020-1.5 ◽

2020 ◽

pp. 65-80

Author(s):

Magdalena Strąk

Keyword(s):

Time Perspective ◽

Terrorist Attack ◽

First World War ◽

General Concept ◽

Literary Texts ◽

World War ◽

The Past ◽

The First World War ◽

History Of ◽

First World

The work aims to show a peculiar perspective of looking at photographs taken on the eve of the broadly understood disaster, which is specified in a slightly different way in each of the literary texts (Stefan Chwin’s autobiographical novel Krótka historia pewnego żartu [The brief history of a certain joke], a poem by Ryszard Kapuściński Na wystawie „Fotografia chłopów polskich do 1944 r.” [At an exhibition “The Polish peasants in photographs to 1944”] and Wisława Szymborska’s Fotografia z 11 września [Photograph from September 11]) – as death in a concentration camp, a general concept of the First World War or a terrorist attack. Upcoming tragic events – of which the photographed people are not yet aware – become for the subsequent recipient an inseparable element of reality contained in the frame. For the later observers, privileged with time perspective, the characters captured in the photograph are already victims of the catastrophe, which in reality was not yet recorded by the camera. It is a work about coexistence of the past and future in the field of photography.

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Literature in Our Time, or, Loving Literature to Bits

CounterText ◽

10.3366/count.2015.0019 ◽

2015 ◽

Vol 1 (2) ◽

pp. 232-269 ◽

Cited By ~ 7

Author(s):

Ivan Callus

Keyword(s):

Literary Criticism ◽

Jacques Derrida ◽

Anthony Trollope ◽

Don Quixote ◽

Time Machine ◽

Paul Auster ◽

Anne Michaels

In this essay Ivan Callus provides some reflections on literature in the present. He considers the tenability of the post-literary label and looks at works that might be posited as having some degree of countertextual affinity. The essay, while not setting itself up as a creative piece, deliberately structures itself unconventionally. It frames its argument within twenty-one sections that are self-contained but that also echo each other in their attempt to develop an overarching argument which draws out some of the challenges that lie before the countertextual and the post-literary. Punctuating the essay and contributing to its unconventional take on the practice of literary criticism is a series of exercises for the reader to complete, if so wished; the essay makes no attempt, however, to suggest that a countertextual criticism ought to make a routine of such devices. The separate sections contain reflections on a number of texts and writers, among them, and in order of appearance, Hamlet, Anthony Trollope, Jacques Derrida, The Time Machine, Don Quixote, Mark Z. Danielewski, Mark B. N. Hansen, Gunter Kress, Scott's Reliquiae Trotcosienses, W. B. Yeats, Kate Tempest, David Jones, Anne Michaels, Bernice Eisenstein, Paul Auster, J. M. Coetzee, Billy Collins, Deidre Shauna Lynch, Tim Parks, Tom McCarthy – and Hamlet again. The essay's length fulfils a performative function but also facilitates as extensive a catalogue of aspects of the countertextual in literature and elsewhere as is feasible or as might be dared at this stage.

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