scholarly journals Konotacije leksičkog sloja motiva stida u engleskim prijevodima bošnjačke balade “Hasanaginica”

2021 ◽  
Vol 32 ◽  
pp. 167-189
Author(s):  
Amina Arnautović
Keyword(s):  
Stylistic Analysis ◽  
Original Text ◽  
Rhythmic Pattern ◽  
Oral Literature ◽  
Source Text ◽  
Poetic Image ◽  
Literary Art ◽  
English Translations ◽  
High Degree ◽  
Analysis Point

Translating a work of literary art, especially poetry, also means translating its style. At the lexico-stylistic level, style manifests itself in both denotative and connotative meanings of the lexical units of a text. By analyzing the connotations of the lexical layer of shame motif in English translations of Bosniak ballad “Hasanaginica”, we can identify and problematize the interpretation of this motif in the target texts in relation to the source text. Applying the method of lexico-stylistic analysis to the key verses of the shame motif, both in the source text and in the target texts in English, we examine the ways in which different translators build the mystical motif as the only abstract concept that never develops into a poetic image, leaving space for multi-layered connotations that are imposed on the reader. The results of the analysis point to the translations that are closest to the source text in terms of containing minimal differences in the degree of their interpretive limitation or intrusiveness. The most vividly evoked key verse of the shame motif is found in Francis Jones’ translation. However, the final vocabulary choice made by a discerning translator possessing a high degree of stylistic awareness should also be influenced by other aspects of the original text, such as its established rhythmic pattern or meter that requires preservation and other formal characteristics of this ballad, which are not to be found in Jones’ translation. Therefore, our conclusion is that the results of lexico-stylistic analysis of the original should be weighed against the results of analysis on other linguo-stylistic levels of expression (phonostylistic and syntaxostylistic) in order to synthesize them as successfully as possible, which could help recreate a new, more effective and reliable translation of this masterpiece of our oral literature.

Instantiation and individuation in Buddhist scripture translation

2021 ◽  
Vol 3 (2) ◽  
pp. 227-246
Author(s):  
Pin Wang
Keyword(s):  
Social Identity ◽  
Original Text ◽  
Source Text ◽  
Buddhist Scripture ◽  
English Translations ◽  
Functional Features ◽  
Chinese And English ◽  
Heart Sutra

Abstract This paper analyses and compares the systemic functional features of the Sanskrit original text and the Chinese and English translations of the Buddhist scripture Heart Sutra, focusing on the ideational components that are manifest on the strata of discourse semantics and lexicogrammar. Results show that there are both expected equivalence and significant differences among the Sanskrit original text and the two translated texts. The accounts for the equivalence and differences are twofold (on two hierarchies): in terms of instantiation, the translators go along different re-instantiation routes in finding corresponding potentials between the source text and their respective target texts; in terms of individuation, the English and Chinese translators’ personal and social identity has an immediate influence on their respective reproductions of the text.

A comparable comparison? A corpus stylistic analysis of the Italian translation of Julian Barnes’Il Senso di una Fineand the original textThe Sense of an Ending

2016 ◽  
Vol 25 (1) ◽  
pp. 38-53 ◽  
Author(s):  
Jane Helen Johnson
Keyword(s):  
Qualitative Analysis ◽  
Discourse Markers ◽  
Target Language ◽  
Stylistic Analysis ◽  
Original Text ◽  
Source Text ◽  
Italian Translation ◽  
Julian Barnes ◽  
Original Language ◽  
Stylistic Elements

Foregrounding (e.g. Leech, 1965, 1985; Leech and Short, 1981), whereby certain linguistic elements in literary works differ consistently and systematically (Mukařovský, 1958: 44) from norms represented by a particular benchmark, has often been measured using corpus stylistic methods (e.g. Mahlberg, 2013; Stubbs, 2005). While most such studies have focused on works in their original language, this study compares the translation with the original text. More specifically, I explore the stylistic elements identified in Julian Barnes’ novel The Sense of an Ending in both the original and its Italian translation. The study applies notions of tertiary or internal deviation (Leech, 1985) in order to explore to what extent an analysis of keywords and key clusters in Part One compared with Part Two of the target text concurs with the results of the same process in the source text. Corpus stylistic methods were used to identify ‘good bets’ (Leech, 2008: 164) which were then subjected to qualitative analysis. Findings suggest that elements identified as being frequent in Part One of the source text, such as a predominance of ‘uncertain impressionistic perceptions’ (Shepherd and Berber Sardinha, 2013), and an emphasis on first person narration in Part Two, did not play such an important role in the target text, where other elements such as time references and discourse markers of explanation emerged instead. The article concludes that discrepancies between a stylistic description of source and target texts might be due to translating strategies as well as target language conventions.

(Trans)fusions of Conrad’s darkness: Selected adaptations of Heart of Darkness

2021 ◽  
Vol 14 (1) ◽  
pp. 65-86 ◽  
Author(s):  
Ewa Kujawska-Lis
Keyword(s):  
Chamber Opera ◽  
Original Text ◽  
Source Text ◽  
Cultural Backgrounds ◽  
Language Version ◽  
The United Kingdom ◽  
Heart Of Darkness ◽  
The Us ◽  
Polish Language ◽  
Radio Broadcast

Heart of Darkness, due to its semantic complexity, interpretative openness and universal thematic interests, has been frequently intersemiotically adapted in a variety of media, encompassing radio broadcast, films, opera, graphic narratives and video games, as well as rewritten in the form of interlingual translations and refracted, with refractions including reviews and critical assessments, but also textual versions radically different from the source text. This article considers selected reinterpretations of Conrad’s text and comments briefly on how in each case the adaptation illustrates a fusion of Conrad’s vision with that of the adapter, hence (trans)fusion, and how this may give a new life to the source text via interpretative shifts. The article presents case studies: the film adaptation – Francis Ford Coppola’s Apocalypse Now (1979), Tarik O’Regan’s one-act chamber opera (both the United Kingdom in 2011 and the US staging in 2015), the graphic narrative by Catherine Anyango and David Zane Mairowitz (2010) and Jacek Dukaj’s Polish language version Serce ciemności (2017). This selection is governed by the variety of media and by the dissimilar approaches of the adapters to their source text. What is evident based on these variants is the role of the adapter as a creative participant in the process of transmitting the ideas of the original text, often updating them to make them relevant to new recipients of various cultural backgrounds. Additionally, reinterpretations and recontextualizations of the novella result directly from adaptive strategies specific to a given medium.

scholarly journals Estrangeirização e domesticação: indo além de mais uma dicotomia

2016 ◽  
pp. 91
Author(s):  
Reginaldo Francisco
Keyword(s):  
Cultural Differences ◽  
The Other ◽  
Original Text ◽  
Source Text ◽  
Dynamic Equivalence ◽  
Free Translation ◽  
Target Culture

http://dx.doi.org/10.5007/1980-4237.2014n16p91O teórico e crítico de tradução francês Antoine Berman afirma que as traduções literárias em suas formas tradicionais e dominantes representam um ato culturalmente etnocêntrico, isto é, que traz tudo à sua própria cultura, às suas normas e valores, buscando fazer com que se esqueça que se trata de uma tradução. Para se opor a essa prática dominante, o autor propõe uma tradução que não esconda o elemento estrangeiro na obra traduzida, e que para isso seja fiel à “letra” (lettre) do original. Essa oposição é muito conhecida também nos termos utilizados pelo teórico norte-americano Lawrence Venuti, que fala em “domesticação” (domestication) e “estrangeirização” (foreignization) para se referir respectivamente às práticas tradutórias que ocultam as diferenças culturais, adaptando tudo à cultura de chegada, e àquelas que mantêm a estranheza do texto original e da cultura de partida. Interpretações mais radicais das ideias desses autores podem levar a pensar a tradução como dividida nessas duas possibilidades, e muitas vezes à escolha de uma delas como ideal e a outra como condenável. Entretanto, assim como com dicotomias mais antigas (literal x livre, equivalência formal x equivalência dinâmica, etc.), também estas não são duas categorias estanques, podendo haver diferentes combinações de ambas na tradução de um mesmo texto, além de estratégias híbridas ou soluções que não representam nem uma nem outra posição. Neste trabalho discuto a problematização dessa dicotomia, incluindo exemplos de minha tradução do italiano para o português do livro infantojuvenil O diário de Gian Burrasca, de Luigi Bertelli (Vamba).ABSTRACTFrench translation theorist and critic Antoine Berman states that in their traditional and dominant forms literary translations represent a culturally ethnocentric act, which adapts everything to its own culture, standards and values, seeking to make readers forget that they are reading a translation. To oppose this dominant practice, the author suggests a kind of translation that would not hide the foreign element in the translated work, one that is faithful to the “letter” (lettre) of the original text. A similar opposition to that / to Berman’s is also well-known through the terms “domestication” and “foreignization” as defined by American theorist Lawrence Venuti, who uses them to refer to translation practices that on one hand conceal cultural differences, adapting everything to the target culture, and on the other keep the strangeness of both source text and culture in the translation. Radical interpretations of these authors’ ideas may lead to the misconception that translation is divided into those two possibilities, and often to the judgement that one of them is ideal and the other condemnable. Nevertheless, as with other older dichotomies (literal vs. free translation, formal vs. dynamic equivalence, etc.), these are not clearly distinguishable and opposed categories. There may be different combinations of them in the translation of a text, as well as hybrid strategies or solutions that do not represent either one of them. In this paper I discuss the problems of such dichotomy, drawing examples from my translation of Luigi Bertelli’s book Il giornalino di Gian Burrasca from Italian to Portuguese.Keywords: foreignization; domestication; dichotomy.

scholarly journals Possible Worlds in Translation: Coleman Barks’s Rendition of a Story from Rumi’s Masnavi

2021 ◽  
Vol 44 (3) ◽  
Author(s):  
Vahid Medhat ◽  
Hossein Pirnajmuddin ◽  
Pyeaam Abbasi
Keyword(s):  
Internal Structure ◽  
English Translation ◽  
Possible Worlds ◽  
Translation Studies ◽  
Original Text ◽  
Main Character ◽  
Source Text ◽  
Narrative Worlds ◽  
The Way

This article applies the theory of possible worlds to the field of translation studies by examining the narrative worlds of original and translated texts. Specifically, Marie-Laure Ryan’s characterization of possible worlds provides an account of the internal structure of the textual universe and the progression of the plot. Based on this account, one of the stories from Rumi’s Masnavi is compared to Coleman Barks’s English translation. The possible worlds of the characters and the unfolding of the plots in both texts are examined to assess the degree of compatibility between the textual universes of the original and the translated texts and how significant this might be. It also examines how readers reconstruct the narrative worlds projected by the two texts. The analysis reveals some inconsistencies in the way the textual universes of the original and translated texts are furnished and in the way readers reconstruct the narrative worlds of the two texts. The inability of translation to fully render the main character results in some loss in terms of the pungency and pithiness of the original text. It is also shown that the source text presents a richer domain of the virtual in comparison, suggesting a higher degree of tellability in the textual universe of the Masnavi’s narrative.

Trans*textuality in William Shakespeare’s Othello: Italian, West African, and English Encounters

2018 ◽  
Vol 136 (3) ◽  
pp. 393-429
Author(s):  
Susan Arndt
Keyword(s):  
Research Group ◽  
West African ◽  
Oral Literature ◽  
Source Text ◽  
Romeo And Juliet ◽  
Student Research ◽  
Western Africa ◽  
Methodological Challenges ◽  
Phd Thesis

Abstract William Shakespeare’s Othello (1604) displays a critical agenda towards the emerging colonialist discourse of his time and may have encountered, or even been influenced by, African oral literature. This thesis will be probed in this article by comparing Othello with the folktale “The Handsome Stranger” and the Trickster character, well known all across Western Africa, touching lightly on Leo Africanus’s The History and Description of Africa (1550) in the process. In doing so, Othello’s most acknowledged source text, “Un Capitano Moro” by Giovanni Battista Giraldi (1565), will be involved, thus complementing earlier comparative readings of “Un Capitano Moro” and Othello. This postcolonial comparative reading will finally embrace Ahmed Yerima’s adaptation of Othello, entitled Otaelo (2002). In doing so, the article will discuss striking parallels among all four texts, as well as differences and diversions. The latter are, however, not read as counter arguments to the possibility of an encounter; rather, discursive diversions are contextualised historically and trans*textually. Before delving into this analysis, the article will explore both historical probabilities and methodological challenges of reading African oral literature as possible sources of Shakespeare’s Othello, as well as theorise trans*textuality (as related to and yet distinct from Kristeva’s intertextuality and Genette’s transtextuality).This article has developed from two papers, one held in 2015 at a symposium dedicated to Michael Steppat in Bayreuth, who, ever since, accompanied this project with most helpful critical input; I owe him my sincerest gratitude. A second workshop on this topic was held in 2016 in Berlin in the presence of Shankar Raman, Christopher Joseph Odhiambo, and a student research group from Bayreuth with Taghrid Elhanafy, Weeraya Donsomsakulkij, Samira Paraschiv, and Mingqing Yuan. Taghrid Elhanafy dedicates her MA and PhD thesis to comparing Romeo and Juliet with several Arabic and Farsi versions of Layla and Majnun (Cf. Elhanafy 2018). Moreover, this article owes sincere gratitude to a most challenging and expert editing by Shirin Assa, PhD candidate at Bayreuth University, as well as Omid Soltani. Moreover, I wish to thank Dilan Zoe Smida and especially Samira Paraschiv for supporting me while doing research and working on notes and bibliography.

Adapting The Shining

The Shining ◽  
2017 ◽  
pp. 35-56
Author(s):  
Laura Mee
Keyword(s):  
Original Text ◽  
Source Text ◽  
Ideal Case ◽  
Horror Genre ◽  
History Of

This chapter examines the process of adapting Stephen King's book The Shining. Looking at how and why parts of the book were adapted (rather than just focusing on what changed) allows for a coherent appreciation of Stanley Kubrick's film as a significant horror movie. Moreover, The Shining provides an ideal case study for more nuanced theories of adaptation which consider films ‘in relation to the history of generic conventions within which both the film and its source text are situated. In other words, a film participates in—and should therefore be conceptualized as part of—a sequence of adaptations of which the “original” text, in turn, constitutes a segment’. Changing the story's horrific nature does not result in it being less suited to the horror genre, it just offers a different take on its conventions. Comparing the film directly to its equally iconic source text results in inevitable competition in which the original will often ‘win’, even when then the two serve different functions. In addition to analysing adaptation, considering the film within the context of its production and its creators' filmmaking style, and looking at its position within the genre and its themes, offers a fuller picture of The Shining's effective approach to horror.

Cultural localisation as a strategy to preserve the persuasive function in the translation of tourism websites from French into English

2019 ◽  
Vol 6 (2) ◽  
pp. 131-152
Author(s):  
Sally Elizabeth Cowan
Keyword(s):  
Cultural Values ◽  
Cultural Differences ◽  
Small Sample ◽  
Cultural Dimensions ◽  
Source Text ◽  
Global Marketing ◽  
Ordinary Life ◽  
Wine Tourism ◽  
English Translations ◽  
Tourism Websites

Abstract Tourist promotional texts function like advertising texts in that they aim to “persuade, lure, woo, and seduce” (Dann 1996). In the context of global marketing, tourists can be considered consumers who seek to escape from ordinary life carrying their culturally embedded mindsets with them. Although cultural differences have been widely discussed in the literature on tourism translation, few studies have focused on the deeper level ‘out-of-awareness’ culture through which tourists travelling abroad interpret what they see. This paper investigates cultural localisation as a strategy to adapt the source text of a French wine tourism website to the hidden cultural values of British tourists in order to preserve the persuasive function of the target text. Using Hall’s anthropological iceberg model and Hofstede’s cultural dimensions as the framework, a small sample of French source texts and their English translations are compared to demonstrate the link between the stylistic features of tourism language and the psychological motivations of tourists, highlighting the interplay between all levels of the cultural iceberg. The findings suggest that culturally localised tourism websites are more likely to succeed as instruments of persuasion, with ego-targeting discussed as an effective strategy when adapting the text to appeal to the British market.

Blood Wedding in (re)translation

2019 ◽  
Vol 32 (3) ◽  
pp. 195-207
Author(s):  
Patricia González Bermúdez
Keyword(s):  
United Kingdom ◽  
Comparative Study ◽  
Translation Studies ◽  
Theoretical Concept ◽  
Comparative Approach ◽  
Original Text ◽  
Classic Work ◽  
The United Kingdom ◽  
English Translations ◽  
Seminal Article

Abstract This article is a comparative study of four different translations into English of Federico García Lorca's play Bodas de sangre (1933) carried out in the United Kingdom and Ireland throughout the 1990s. Since the publication of Antoine Berman's seminal article on 'retranslation', this theoretical concept has provided a fecund framework for descriptive translation studies, illuminating the variety of solutions translators provide when confronted with the same original text. This article furthers that body of scholarship while simultaneously providing new angles on Lorca's dramatic work. The comparative approach to several English translations of this classic work concentrates on two key scenes of the play and discusses the linguistic, pragmatic and theatrical adequacy of each translation.

Conclusive English then and Swedish då

2010 ◽  
Vol 10 (1) ◽  
pp. 102-123 ◽  
Author(s):  
Bengt Altenberg
Keyword(s):  
Original Text ◽  
Final Position ◽  
Notable Feature ◽  
Clear Cut ◽  
English Translations

Conclusive English then and Swedish då are compared on the basis of a bi-directional translation corpus. The examples are classified into five different uses according to certain formal and contextual criteria. The two words are shown to have obvious functional similarities: in each of the categories distinguished then and då are the preferred translation equivalents of each other. But there are also striking differences. Swedish då is generally much more common than English then and the latter is often left out in the English translations. In other words, the use of an explicit conclusion marker is more often felt to be redundant in English than in Swedish. The two words also display positional differences. For example, unlike then, Swedish då cannot occur initially in non-declarative clauses and its use as an unstressed pragmatic particle is confined to clause-final position. Another notable feature is that an unstressed particle in the original text (in both languages) is sometimes rendered by a stressed adverb in the translation, a tendency which suggests that the distinction between stressed anaphoric adverb and unstressed pragmatic particle is blurred and a matter of degree rather than a clear-cut dichotomy.

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