scholarly journals Adaptation as a Literary Translation Technique in the English Version of Naguib Mahfouz’s the Riffraff “Al Harafish”

2021 ◽  
Vol 4 (36) ◽  
pp. 67-80
Author(s):  
Amira Said Salama Ibrahem
Keyword(s):  
Literary Translation ◽  
English Version ◽  
Translation Technique

scholarly journals A glossary as an explicative translation technique in the translation of the third culture elements

2021 ◽  
Vol 145 ◽  
pp. 129-144
Author(s):  
Michał Gąska
Keyword(s):  
Literary Translation ◽  
Cultural Barriers ◽  
The Novel ◽  
Third Culture ◽  
Source Text ◽  
Translation Process ◽  
East Indies ◽  
The Third ◽  
Translation Technique ◽  
Similarities And Differences

Utilising notes or glossaries in literary translation has both its opponents and supporters. While the former conceive it as a translator’s helplessness and failure, the latter defend it as a manner of overcoming cultural barriers. The present article aims to scrutinize glossaries used as an explicative translation technique with regard to the rendering of the third culture elements. The analysis is conducted on the basis of the novel by Dutch writer Hella S. Haasse: Sleuteloog, in which the action is set in the Dutch East Indies. For this reason, Indonesian culture occurs as the third culture in the translation process. The source text is juxtaposed with its translations into German and Polish in order to examine the similarities and differences in images of the third culture elements the glossaries evoke in the addressees of the target texts.

Zu Geschichte, Theorie und Praxis der Bühnenübersetzung. Am Beispiel von Corneilles Komodie "Le Menteur"

2018 ◽  
pp. 367-398
Author(s):  
Rainer Kohlmayer
Keyword(s):  
Literary Translation ◽  
Original Version ◽  
Original Text ◽  
Translation Theory ◽  
English Version ◽  
Suspension Of Disbelief ◽  
Verse Form ◽  
Theorie Und Praxis

After a brief summary of Herder’s enormous influence on literary translation in Germany (translation restores the specific orality of the original text) the essay points out five fundamental criteria that obtain when translating for the stage: Orality, Individual speech of dramatis personae, Relations between persons (as subtext), Necessity of immediate audience comprehensibility (as opposed to the readers’ situation), Theatricality / Fictionality with its typical „suspension of disbelief ” (Coleridge). These criteria are then applied to Pierre Corneille’s comedy Le menteur, written in Alexandrines, the characteristic verse form of French classicism. The original version of 1643 is compared to the verse translations by Goethe (1767), Bing (1875), Schiebelhuth (1954), Kohlmayer (2005), with a side glance at Ranjit Bolt’s English version of 1989. The ease with which young Goethe renders the classicist form of the original into colloquial German is contrasted by Schiebelhuth’s stilted ‚foreignizing’ of the text. The explanation offered is the (fatal) influence of Schleiermacher’s well-known translation theory of 1813, with its categorical preference of foreignizing, in contrast to domesticating (in Venuti’s terminology).

scholarly journals As traduções e as adaptações para o inglês de Ali Babá e os quarenta ladrões nos séculos XVIII e XIX

2019 ◽  
Vol 72 (2) ◽  
pp. 153-170
Author(s):  
Daniel Padilha Pacheco Da Costa
Keyword(s):  
Nineteenth Century ◽  
Eighteenth Century ◽  
Literary Translation ◽  
English Version ◽  
French Version ◽  
Early Eighteenth Century ◽  
Editorial Procedures

This paper aims to reconstruct of the editorial tradition which began in the early eighteenth century with the first English version of Ali Baba, and the forty thieves. During the next two centuries, this version gave origin to a great number of editions and adaptations into English, which were directly or indirectly mediated by Antoine Galland’s French version, who was responsible in the first place for introducing this tale into the Arabic compilation known as The Thousand and One Nights. It is our intention to analyze the different literary, translation and editorial procedures used by the agents involved in the tale’s popularization, since its indirect translation into English until its adaptation into the different formats of chapbooks published throughout the nineteenth century.

scholarly journals Cautioning Against “Academic Bookishness”: From the History of Translation of Russian Classical Literature into the Abkhaz Language

2021 ◽  
Vol 3 (4) ◽  
pp. 182-197
Author(s):  
Vladimir K. Zantaria
Keyword(s):  
20Th Century ◽  
Native Language ◽  
Literary Translation ◽  
Early 20Th Century ◽  
Original Text ◽  
Classical Literature ◽  
Domestic Literature ◽  
Translation Technique ◽  
History Of ◽  
Rhythm And Meter

The article examines the experience of Abkhaz translators, writers and scientists in translating Russian classics into the Abkhaz language. It is shown that literary translation in Abkhazia developed in stages and in parallel with domestic literature, becoming its integral part, revealing the potential expressive capabilities of the native language. Briefly describing the legacy of the founder of Abkhaz literature D. I. Gulia, who was engaged in the translation of liturgical literature in the early 20th century, the author dwells on the most significant achievements of modern translators of Russian classical literature. Important theoretical and practical observations concerning the translation technique are presented, variants of some texts in the Abkhaz language are given, by examples of which the article illustrates the most significant discoveries and achievements of translators in the field of transferring the figurative system of the original text, rhythm and meter (when it comes to verse speech), composition, general tonality of the work.

scholarly journals Polish, Romish, Irish: The Irish Translation of Quo Vadis?

2010 ◽  
Vol 5 ◽  
pp. 47-58
Author(s):  
Alan Titley ◽  
Keyword(s):  
Nobel Prize ◽  
Great Book ◽  
Literary Translation ◽  
Ancient Rome ◽  
English Version ◽  
Quo Vadis ◽  
Latin Culture ◽  
The Mind

During the height of literary translation into Irish in the 1920s, 30s and 40s, I can only think of two Polish books that were translated into Irish. One of these is Henryk Sienkiewicz’s famous Quo Vadis?, which helped him secure the Nobel Prize for Literature, and which has been translated into numerous languages, and made into several films or series of films for television. It was translated into Irish by An tAthair, or Fr. Aindrias Ó Céileachair (1883–1954) in 1935. There is a long journey from Henryk Sienkiewicz’s travels into the mind of ancient Rome and turning a vicious and genocidal Latin culture into a more civilised Polish, to an English version of this great book by an Irish-American linguist who himself collected stories and tales in Irish, to a learned priest who used the ingenuity of his own people, and particularly the native knowledge of a great storyteller, to fashion one of the finest translations that has been done into modern Irish. I am not sure what Sienkiewicz would have made of it, but I am sure he would have been very pleased.

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