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Or: On the Issues of Translating Poetry from Macedonian to German
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Or: On the Issues of Translating Poetry from Macedonian to German
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The main goal of this paper is to present the phenomenon of literary and cultural manipulation in minority literature. Having based my communication on examples taken from French‑Canadian and Acadian literature (New Brunswick), I would like to demonstrate that translation methods and strategies are linked to translator’s evaluative attitude towards a given minority culture which is structured by dominant culture tendencies and prerogatives.
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In numerous TS‑oriented discussions, poetry is perceived differently than other genres or types of texts. The unity of ‘form’ and ‘content’ is emphasised, as formal organisation of linguistic elements constitutes an additional element of the meaning of a poem. This article constitutes an attempt to show poetry as an object of translation which undergoes similar rules to those governing translation of other texts. It is done by discussing opinions of a few scholars and presenting a few poems. What is identified as a factor which can lead to the multiplicity of theories of translation is a general approach to translation adopted by its practitioners and scholars which is rooted in the philosophical views on language and nature of translation they follow, rather than the multiplicity of objects of translation.
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The Spanish, being the official language of Spain and many other countries, is characterized by an important dialectal diversity that is reflected in the differences at all linguistic levels: phonetic, morphological, syntactic and lexico‑semantic, etc. All these differences raise controversies and discussions about the existence of a linguistic norm depending on the perspective that can have a monocentric or polycentric character. In this contribution we present some arguments for the second one. To this end, we rely on translations, starting simultaneously from the semasiological and onomasiological perspective, of some Polish‑Spanish legal terms in which it is essential to take into account, the diatopic variation as well as the norm whose character is polycentric.
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There have been numerous translations of Ivo Andrić’s work, by Bosnian as well as foreign translators. However, very few analyses of those translations have been produced. This essay is a short overview of the English translation of Ćorkan and the Tightrope Walker by John K. Cox. The selected passages are illustrative in terms of specific lexis and how it was treated by the translator, as well as the overall atmosphere, tone and tenor present (or not present) in the translation.
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This article presents the researched students’ answers to the questions concerning how they assess their own readiness to function as language specialists (translators). The interviewed students talk about their perception of their translation teachers and the influence the latter have on the students’ pathway towards new skills and competences. The questions posed to the students also pertained to the problems and difficulties that they see on their way to becoming professional translators and effective entrepreneurs on the translation market. The research results show, on the one hand, that the students are engaged into the processes of self-education and self-realization. On the other hand, also noticeable are such educational areas in which the teachers guidance and facilitation could empower the students more in their transition to higher levels of development in building their career potential.
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The article deals with one of the Romanian versions of the play Macbeth, published in the first half of the 20th century, in the translation of Mihail Dragomirescu, literary theorist and critic. Although he was indebted to the theoretical foundation of the Junimea society, the translator stands out in the Romanian history and criticism for his original theoretical system of integrated aesthetics that rejected any type of determinism in the analysis of literary works. In spite of applying the same theoretical frame to literary works in translation, Dragomirescu’s version of Macbeth clearly shows a considerable breach between his theoretical assumptions and the translated text as a product.
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The article is carefully focused on a strategy of translation constantly used by Ioan Piauriu Molnar in the Romanian version of Claude François Xavier Millot’s work, Eléments d’histoire générale ancienne et moderne. It is about interpolation, which explains (by synonyms or paraphrases) the numerous neologisms introduced in the text.
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Despite the over one hundred years long popularity of Ivana Brlić‑Mažuranić in Croatia, her literary work is almost absent in Poland. In this paper, I would like to trace the history of Polish translations of the famous collection Croatian Tales of Long Ago, focusing on the silhouettes of the three translators who took on the translation and the factors that might have affected the problematic reception of Croatian writers in Poland, including the translation strategies adopted by the translators in dealing with the original.
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Pornind de la sfera semantică și lexicală a conceptelor honte (limba franceză) și, respectiv, rușine (limba română), îmi propun să examinez modul cum se traduce acesta în limba română pornind de la un studiu de caz. În acest scop, voi încerca să elaborez un studiu traductologic comparativ al lucrării lui Boris Cyrulnik, intitulată Mourir de dire. La honte (Éditions Odile Jacob, Paris, 2010) și a traducerii sale în limba română, intitulată Mai bine mor decît să spun. Rușinea (traducere din limba franceză de Valentin Protopopescu, Editura Trei, col. „Psihologia pentru toți”, București, 2012). Textul lui Cyrulnik are o particularitate: oscilează între factura literară și cea a unui text specializat. Din acest punct de vedere, transpunerea lui pune la încercare teoriile funcționaliste ale traducerii și, mai ales, teoria skopos-ului elaborată de Katharina Reiss și Hans Vermeer: este interesant de analizat cum „decodează” traducătorul „intenționalitatea” acestui tip de text, totuși specializat, cum decide el să transpună sfera sa semantică și lexicală în limba română.
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This paper continues the linguistic analysis on various editions of the Romanian version of Arthur Schopenhauer’s late philosophical work Aphorisms on the Wisdom of Life, an analysis which was conducted along two research directions that have been here preserved: the contrastive one (a direct comparison between source-text and target-text) and the diachronic one (considering the translator’s interventions on his own text at different points in time). The results of this analysis shall be presented here along the conclusions of the linguistic approach performed in order to objectively observe the way the translator, Titu Maiorescu, solved the difficulties of translating a German philosophical text into Romanian, by recording both his achievements and his imperfections. The linguistic approach of our analysis is useful not only to our discussion on philosophic translation, but also to possible forthcoming translators of the Aphorisms, whose intention might be that of adapting the discourse of the existent Romanian version written by Titu Maiorescu to the possibilities of Romanian contemporary language, considering its considerable evolution, especially as far as philosophical terminology is concerned.
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The aim of the present paper is the minute analysis of glosses excerpted from Învățătură pentru ferirea și doftoria boalelor, a text translated by Petru Maior and printed in Buda, in 1816. The Enlightenment principle followed by the Transylvanian scholar, i.e. the principle of adapting the Western culture to the Romanian one, of facilitating the access of popular masses to science is materialised in the high frequency of glosses. For P. Maior, the gloss represents an excellent mechanism of inserting neologisms in his text, neologisms which are explained by old, popular terms, collocations or periphrases. The highest weight is held by terminological glosses of the lexical borrowing – old term type. The fact is relevant for the conception that guides the author in his activity of translating the text: the glosses are intentionally oriented towards the creating of a neologic lexical corpus, in accordance with that of other European languages of culture. A detailed analysis of the various types of glosses offers useful information as regards the phenomenon of integrating neologisms and reveals interesting aspects of the process of lexical renewal of the Romanian literary language.
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The article analyses the Internet reception of Jacek Dehnel’s translation of Fitzgerald’s The Great Gatsby. The analysis draws on the context of the publication, the paratexts, the marketing campaign of the publish- ing house and the specificity of the media presence of the translator- writer. This approach enables to show how these factors have influenced not only the interest in the new translation of the novel, but also the very evaluation of it. Many of the Internet reviews are the effects of the suggestion with the editorial blurb, the translator’s afterword, and the unique brand of Jacek Dehnel as a writer and the participant of cultural life. Evaluative statements in reviews normally result from certain cri- teria and analysis, but in this case they are paraphrases and of paratexts. The analysis of the reception of Dehnel’s translation can contribute to further discussions on how the mechanisms of the media shape the re- ception of literary translations in the contemporary Internet literary life.
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This work aims to establish and systematize the features of translation from Turkish into Bulgarian of infinitives, participles and adverbial participles. The use of non-finite verb forms in Bulgarian is restricted by the literary norm, while non-finite verb forms in Turkish demonstrate great variety and active use. In translation, it is particularly difficult to communicate into Bulgarian the grammatical meaning of these verb forms due to existing differences in both languages’ morphological systems. The paper focuses on the importance of the non-finite verb forms’ syntactic function which in Turkish can be viewed in both the nominal and verbal paradigms.
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This paper aims at investigating paremiological units from theRomanian translations of the novel Don Quixote de la Mancha, bearing in mindCervantes’ original text. The contrastive analysis is based on linguistics andtranslation studies, its main objectives being to indicate the changes resultingfrom the translation process and to pursue the conservation of theparemiological essence, highlighting incongruences deriving therefrom. Wehave considered the translation from 1969 done by Edgar Papu and IonFrunzetti and the translation from 2004 bzy Sorin Mărculescu. Nevertheless,prior to these remarks, we also conducted a paremiological analysis, in terms ofPavel Ruxăndoiu (2003). First of all, we mentioned the situational-genericcontext, that is, we pointed out what exactly generated the evocation of theproverb, which character used it and when. Secondly, we specified thefunctional context, namely, a pragmatic perspective at the level of speech, andfinally, we examined the composition, from lexical, grammatical and stylisticpoints of view. The research was only confined to the proverbs whose centralfigure is the woman and since they synthesize every aspect of the life of acommunity, its fundamental attitudes, its relations with the world (Avram,2011: 3), the role or status of women in the society of the time can be depictedin the proverbs about women used by Cervantes.
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Carried out in the framework of Eugenio Coseriu’shermeneutic text linguistics, this analysis focuses on an exoticform of translation, defined and experimented by the Romanianpoet Ion Barbu on Shakespeare’s Richard III.Programmatically aimed at rendering the “dynamic schemata”of the original, Ion Barbu’s undertaking does not treat thesource text as a self-consistent whole, but breaks it apart andthen reconstructs it in alien material, in an endeavour torecapture the semantic process that led to the construction ofthe original. To this end, Barbu consistently applies a strategyof ‘interpolation’: while the total length of each dramatic(sub)unit is faithfully maintained, sequences with no overtcorrespondent disrupt all surface parallelism with the original.We aim to demonstrate that the main function of this strategy isto unfold and develop an intertextual evocation of the sourcetext, thus positing the translation as a reconstruction of‘missing parts’ in the original. This process also reinforces andjustifies a typological transformation of Shakespeare’s text,along the lines of Barbu’s own hermetic poetry.
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translator, translation, translation techniquesTurning to good account the translating practice and thetechniques which have been applied so far, the comparative analysis intranslation highlights the similar or different aspects when rewriting theoriginal. Both translations submitted to attention reflect linguisticknowledge, social and cultural awareness besides personal perspective,talent and intuitive grasp of the literary text. In order to acquire theaccurately reflected (i.e. translated) image of E. Allan Poe’s ‘House ofUsher’, the translator should analyse several other reflections (i.e. steps)which help him or her obtain the most faithful resemblance (i.e. translation)to the original. Two remarkable Romanian translators – Ion Vinea and LiviuCotrău – have already beaten this devious path.
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This paper deals with such concepts as translator’s invisibility,ethnocentric reduction and abusive fidelity applied in the analysis of aninterpolated text in the Romanian translation of Thackeray’s Vanity Fair.
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We propose in this work to map the theories on titles ofliterary works onto the translation of the latter by utilizing as corpus Stories orTales from Times Past. Tales of Mother Goose by Charles Perrault and theirRomanian version. We confine our analysis to the titles of the collection, nottaking into consideration in this study the titles of the tales, this being a verycomplex subject that deserves a separate study. Translation of children'sliterature as well as translation of general literature considers the use of certainstrategies and processes taking into account ―the key of the vault of thetranslation process‖ (Pederzoli, 2012: 287), that is the target audience. Andsince translating titles of children's literature is not mere child‘s play, the majorfocus in this contribution is on its complexity, as well as on the socio-culturaland linguistic constraints that are involved. The constraints of sourcelanguaculture are different from those of target languaculture with respect totranslation of titles. As regards analysis of our corpus, it has yielded threetrends: choosing a generic title, the preference for a single tale volume, or themixed case where a story is accompanied by a generic indication. Changing thetitle from a translator to another or from one edition to another is related to thepublishing market that puts in the foreground the need to seduce the targetaudience through the title device.
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