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This article aims at examining the cult of the ancestors in the society depicted in Ayi Kwei Armah’s Fragments. In the Akan society of Ghana to which the writerbelongs, as in many other African societies, the ancestors are worshipped and peoplebelieve that those ancestors watch over the living from the world of the dead. In thosesocieties where the cult of the ancestors is practised, people rely on their ancestors for thesuccess of their present and future social events. Through this novel, Armah shows thatAfrican civilisation can be relived through literature. The study has found that the cult of theancestors or ancestor worship is a reality in African societies through the case study ofFragments. In other words, it endeavours to show the ancestors’ importance in the lives ofthe living in the depicted society through Armah’s fiction.
More...A jelen módszerei és a jövő fejlődési irányai
This paper reviews particular achievements of translation studies and applied text linguistics from among the various disciplines of applied linguistics that enable a deeper understanding of certain phenomena either under- or not at all researched in the field so far. The main concern of the study is translational discourse production. It intends to offer theoretical and methodological means to be able to answer such basic questions related to translational discourse production as for example whether it is at all possible to analyze the target language (re)production of coherence, or how the cohesive, rhetorical and generic structures of discourse ”behave” in translation. The paper also highlights future avenues of research in discourse analysis, genre analysis, target text oriented translation research and the study of translation universals, and strategies which may be successfully pursued with the help of some of the current achievements of these disciplines of applied linguistics.
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The connection of body and soul, transubstantiation of body, and pronunciation of the unpronounceable are inexhaustible sources of poetry and cognitive studies. This paper has attempted to present the Serbian-Hungarian translation alternatives for the fundamental metaphors of soul found in poetry. This comparative study, which looks at the possibilities of conceptualisation of the soul in the two languages, aims to answer the question of how the creation of target texts is influenced by features of world view, the manifold common cognitive experiences and sets of metaphors, specific poetic traditions, differing linguistic possibilities, the translator’s intuition, moral values of the period, as well as the current literary canon. The experiences gained from the Hungarian translations of Miloš Crnjanski’s poem Stražilovo led once again back to the fundamental questions concerning the difficulties of circumscribing and delimiting the two entities hard to grasp: the spirit and the soul.
More...Célnyelvi interferenciák Terézia Mora Das Ungeheuer című regényében és magyar fordításában
The German writer Terézia Mora (1971) grew up with a double, Hungarian-German linguistic identity. She reflects on her own bilingualism in many ways, also on the micro level of the text. How can this linguistic duality be kept in the Hungarian translation? What translation strategies are to be applied in order to keep the intentional foreignness of the original in the Hungarian target text, if this foreignness is produced by using the very characteristics of the Hungarian language in the German original? This case study focuses on the reflection of bilingualism and the translation problems arising from reflection in literary texts by studying examples taken from the novel Das Ungeheuer by Terézia Mora. Self-observation that looks back and the analysis of the text examine wether the translator finds the solutions satisfactory from the point of cultural transfer. The conclusion is that the translator, when choosing among the alternative solutions available, works assuming that the recipient interprets the work in a much wider context than the translated text.
More...Szerb Antal regényeinek népszerűsége angol fordításban
This study intends to find an answer to the question what makes Antal Szerb’s fiction popular in the United Kingdom in the first decades of the 21st century. First, it describes the sociocultural context in which the English translations were made by Len Rix and published by Pushkin Press in London, then, with the help of excerpts cited from Journey by Moonlight and Pendragon Legend, it offers a contrastive textual analysis that reveals the traces of what Lawrence Venuti calls cultural inscription. The study concludes that the domesticating strategies the translator applies result in and thus explain the differences between the Hungarian and the English texts in the examples cited, because instead of a literal translation, his wording of the English text is determined by the conventions of English prose and the expectations of his assumed English readers.
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The author of the paper deals with questions of translation of Balassi’s Hungarian poetry. The reading of literary texts of antiquity is difficult for both today’s native readers and the translator, the latter being the rewriter of the source texts in the target language. This difficulty is caused by the grammatical and semantic differences of the typologically different languages on the one hand, and by the timeframe, on the other. The archaic language and cultural elements of the source texts are difficult to translate. The author compares the language and stylistic elements of Balassi Bálint’s text (Hogy Júliára talála, így köszöne néki), with the Russian (Встретив Юлию, поэт приветствовал ее следующими словами) and the English text variants (When he met Julia, he greeted her thus). She also points out the compensation procedures used by the translators who intended to create the exact replica of the original poem.
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This study is a metanalysis of the notion translation studies. One of the most recent of humanistic disciplines, translation studies has been provided the name it is referred to these days in the early 1970s, although theoretical considerations regarding translation started to appear even in ancient times. Our paper focuses on different taxonomies related to translation studies, the terminological implications, related notions and we tend to present some of the most important theories regarding the conceptual meaning of the term `translation studies`.
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The article’s main objective is the analysis of the Dutch and Polish translation of Antoine de Saint-Exupéry’s novella Le Petit Prince (The Little Prince). After the opening remarks, the theoretical framework (i.e. the formation, classification, and functions of diminutives in French, Dutch, and Polish) is presented, followed by a quantitative analysis of diminutives in the original texts and the two translations. The Little Prince in this French original contains relatively few diminutives, especially given the fact that de Saint-Exupéry’s novella was originally classified as children’s literature, therefore answering the question whether the Dutch and Polish translations contain equally few diminutives as the French original is the main purpose of the analysis. Another issue addressed in the study is how the Polish and Dutch translators of the novel solved the problem of rendering diminutives in translation.
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This paper visits some of the thoughts Antoaneta Ralian shared with her public throughout her long and amazingly prolific translating career. Antoaneta Ralian toiled with the minute religiousness of a hesychast that listens to the chant of the wasteland to unravel the mystery locked in each and every one of the 125 novels and plays she translated. She believed that the translator has to gain access to what lies hidden in the text, subtly interposing the decoding wish in between thought and translation. The translator sets the text free as long as it preserves its intrinsic wealth and beauty. The text is no longer a ‘closed’ narrative (Umberto Eco), as long as the translator deciphers its inner mechanisms ‘forcing’ it to reveal itself, opening it towards unlimited semiosis. Quoting various fragments from the last volume of memoirs she published in 2016, Nu cred în sfârșitul lumii [I do not believe in the end of the world], I take a bow of honour to one of the most beautiful minds of the Romanian culture.
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This paper deals with the subject of word-play and double entendre, specifically in Serbian translations of Shakespeare’s Sonnets 135 and 136 published in the past 70 years. Lexical ambiguity, polysemy, and multiple connotations are notoriously difficult to deal with in translation. In the case of double entendre, the meaning that is risqué is ignored and/or many instances of double entendre are bowdlerized, which is to say that the original work is mutilated through the conscious or subconscious (self-)censorship of the translator. This paper submits that the poetic freedom of the poet is to be respected. Тhe subject of censorship is addressed generally, and specifically as it has been practiced in the Serbian translations of Shakespeare’s Sonnets. History has seen many appropria tions of Shakespeare sometimes in the mode of censorship: banning or suppressing of what has been considered socially inappropriate and morally unacceptable or selfcen sorship: meaning the self-imposed subconscious distorting and inhibiting activity of the translator himself. Shakespeare’s sonnets are brimful with masterful examples of double entendre: words and expressions capable of two interpretations with one usually risqué, verging on impropriety, sexually provocative and likely to attract controversy. The exam ples of sexual puns in the Sonnets 135 and 136 are extreme: suggestively erotic and wicked, sometimes producing an uncouth humorous effect. Such examples are notorio usly difficult to handle in translation. We have analyzed and compared the work of three translators: Raičković, Angjelinović, and Milojević, pinpointing instances of self-cen sorship. We argue in favour of the separation of literary from the literal truth, allowing the writer his poetic license.
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This paper examines several aspects of translation in general, as well as the particular cases of literary and poetic translation.
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Chantal Wright, born in Manchester (UK), is an award-winning literary translator and an Associate Professor at the University of Warwick. She holds a BA in Modern and Medieval Languages from the University of Cambridge (UK) as well as an MA and a PhD in Literary Translation from the University of East Anglia (UK). Before coming to Warwick, Chantal Wright taught Translation Studies and German Studies at the University of Wisconsin-Milwaukee (USA), the University of Alberta (Canada), and Mount Allison University (Canada). She is the author of Literary Translation (Routledge, 2016). An interview with Chantal Wright was conducted in English by Višnja Krstić.
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The Romanian indefinite quantifier atâtica is the diminutive form of the demonstrative adverb atât (so / so much) and it occurs in the informal language. Based on the observation of a large sentence-corpus consisting mainly of examples provided by various websites our paper presents the results of the semantic and referential analysis of this adverb as it appears in different contexts. Our final goal is to find the most appropriate French equivalents for atâtica. Used especially with its deictic value (since the word can be accompanied by an ostensive gesture), but not only, atâtica expresses the idea of a very small quantity, both concrete and abstract. The various translation solutions that we propose underline this semantic content, nuanced according to the contextual use of the word.
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The present paper aims to investigate the inconsistencies and paradoxes generated by the dichotomy universal literary - national literature, as well as to analyze, starting from the example of Dan Lungu's "passport" novel, „Sînt o babă comunistă!”, the mechanisms and reasons that stood at the basis of ascension and integration of the writer mentioned in the global literary system.
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For over a century many Buddhist texts in Pali have been translated into English, the four main Nikāyas at least twice. Significant improvements have been made in regard to English translations of Pali texts. This paper provides five case studies that illustrate the problems and complexities involved in translating Pali texts. Examples are taken from four suttas of the Aṅguttara Nikāya. Various issues are addressed using textual and contextualised analyses. I attempt to offer solutions to some problems related to translating the Pali through different approaches, including style, philology, history, Buddhist thought and inter-religious relation.
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The Šine-Usu Inscription is the most voluminous one with 50 lines among the Uighur inscriptions. Although most parts of this inscription can be well understood, many words and sentences in the south and west sides are not so. These sides are now severely damaged. W..GšNG in the 4th line of the west side has been differently interpreted by researchers. The author regards xNùx±±v W..GšNG as a misreading for xNùx±±N N..GšNG, and amends it as xNùx[vL]N N[LW]GšNG an[lu]γšanïγ, suggesting that the letter groups TKGWYILKA …… N[LW]GšNGYWwKïKILms in this line should be read as taqïγu yïlqa …… an[lu]γšanïγ yoq q͜ ïlmïš “In the Fowl year (= 757), …… allegedly he (or they) eliminated Anluγšan (= An Lushan)”.
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There are two Sanskrit manuscripts of Kṣemendra’s Bodhisattvāvadānakalpalatā preserved at Drepung Monastery in Tibet. The earlier one (according to the colophon) contains all the 108 avadānas comprising the whole text, while the later one only includes the last 61 avadānas. In this paper, we compare and analyse two paratextual elements of the extant versions, namely, pallava-endings and prologue, in order to know how frequently the translator Shong ton Rdo rje rgyal mtshan and the redactor Zha lu lotsāva Chos skyong bzang po used these two manuscripts
More...3. The consonants, 3.1 Labial stops
This paper investigates how the Khitan Small Script renders labial stops of the Khitan language in the initial position of words and syllables. Furthermore, it deals with the problems of alloglyphs, drawings of similar shape, and denotations of the same phoneme. The paper begins with the use of glyphs in cases where they transcribe Chinese words. Evidence permitting, this is followed by the use of glyphs in cases of Chinese loanwords and names—subjects in which we have a robust background. Finally, it examines words of Khitan origin with initial labial stops. The result of our investigation is that postaspiration was the distinguishing feature in the binary opposition of labial stops. Alternation of <b> ~ <p> writing is common in cases where a word occurs with high frequency. To demonstrate this, we used the Khitan Corpus published in 2017.
More...Literary Translation as a Workshop for Creative Writing
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