Translation Adaptation Research Articles

Analysis of English Translation Strategies from the Characteristics of Internet Buzzwords

Due to the development of the internet and network language, a new type of buzzwords, namely Internet buzzwords, has appeared in recent years. This article mainly focuses on the question of what translation strategies do Internet buzzwords use during their translation. Reasons for the popularity of internet buzzwords and their characteristics are firstly discussed. Then, considering the original form and the translation version, the Internet buzzwords are summarized into three types: Number-plus-suffix type, Double-meaning type, and Chinese-Characteristic type. Finally, the choosing principles of different translation strategies are compared and analyzed, mainly focusing on the functional equivalence theory of Nida and the domestication and foreignization theory of Venuti. At the end of this paper, the author concluded that the translator should choose the translation strategy according to the purpose of translating: use the domestication strategy when transmitting information about specific events or common emotions and use the foreignization strategy when focusing on cultural characteristics. However, the basic meaning of internet buzzwords should always be translated primarily.

E-C Translation through the Perspective of Feminist Translation Theory Exemplified by Uncle Toms Cabins Two Translation Versions by Translators of Different Genders

The issue of gender inequality has been an uncharted territory in academic research about translation. With the pressure of the Feminist Movement, the gender issue started to draw the attention of translation studies. Translation enables readers to see beyond their own cultural backgrounds and to have new vistas of the world and history, which makes it a perfect platform for feminists to assert their ideas about the socio-economic situations of women and the complex relationship between the two genders. Uncle Toms Cabin, in full Uncle Toms Cabin, or Life Among the Lowly, written by female writer Harriet Beecher Stowe, has been translated into Chinese by a number of Chinese scholars. This thesis regards the versions translated by male translator Li Zixiu and female translator Wang Jiaxiang as research objects to analyze their differences in terms of translation strategies to explore how translators can contribute to literary translation from the feminist point of view. Finally, this study found that the female translator is more gender-conscious, and has adopted a unisex-orientated vision, asserted her gender identity, and employed gender inclusive language.

An E-C Translation Study under the Theory of Eco-translatology: Children and Nature in The Secret Garden

Approaching the second decade of the 21 century, the theoretical translation field of China is gracing with a new theory that might open up a new paradigm for the discipline. Inspired by ancient Chinese wisdom on the harmonious relationships between man and environment, the theory of eco-translatology was published by Gengshen Hu. Eco-translatology is an interdisciplinary subject that involves the subject of translation and the ideas used in ecology. In most translated (English to Chinese) childrens literature, translators select different words under their translational environment and their own understanding of cross-cultural adaptation. Therefore, the ideal version of translation would achieve the harmonious relationships between linguistic, communicative, cross-cultural transition, and other translation-related factors, it would also achieve the harmonious relationships between authors original attempt, translators selection of words, and readers experience. This paper will make a specific analysis of the different E-C translated texts of the famous childrens literature The Secret Garden to explore translators different interpretations of authors unique ideas and translators selection for words under the theory of eco-translatology at that time period and social background. Finally, the author concludes how eco-translatology theory could be beneficial in serving practical use in translation.

Study on the English Translation of Librettos of Modern Qinqiang Opera under the "Three Beauties Theory"

The librettos in the script of modern Qinqiang Opera The Rose Come Late into Bloom are similar to ancient Chinese poetry in form, sound and sense. Its translation can be adapted to the "Three Beauties Theory" of poetry translation proposed by Professor Xu Yuanchong. This paper introduces the similarities between Qin Opera, libretto and Chinese poetry, script content, translator team, rhyme characteristics of Chinese and Western poetry, and the "Three Beauties Theory", trying to explore the applicability of "the beauty in sense, the beauty in sound, and the beauty in form" in script translation.

Fidelity to the deep structure of literature: Yu Kwang-chung’s translation of Emily Dickinson

ABSTRACT Yu Kwang-chung embarked on a translational project, Anthology of American Poetry, around 1960. Edited by Stephen Soong, the anthology was published by World Today Press, Hong Kong, in 1961. This research commences with Yu’s plight in selecting what poems of Dickinson’s to translate, a plight associated with Poundian translatology. It follows with textual analyses of Yu’s translations of and introduction to Dickinson’s poetry. I aruge that Yu is far from being an absolutist inasmuch as translational fidelity is concerned. In contrast, what he pursues in poetry translation is an optimal fidelity, one that intends to bring about as profuse poetics as possible in the target language. The translator exerts optimal faithfulness to a variety of traditional literary elements, all of which amount to what I call “fidelity to the deep structure of literature.” It is with such a flexible fidelity that Yu transplants Dickinson’s metaphysical universe onto the Chinese soil.

Omar Tugrul Inançer’s Detections on Some Turkish Idioms and Metaphores About The Influence of Islamic Sufism on Daily Life

Omar Tugrul Inançer, who grew up in a family and environment with Ottoman remnants, is a person who received his mystic education and manners by personally experiencing it from the environment where he grew up. He was a Sūfī, a man of faith who was “bred at the bottom of the knee”, so to speak, of the perfect masters of his time, who were considered important. Although he described himself as “sofimeshrep” in order not to use his Sūfī identity either because of the current conditions or as an advertising element, his qualification as a murshid-e-kamil has always attracted attention. The hadith, “Believers do not die but rather migrate from some place to another” which is frequently mentioned in forty hadith translations in verse was often used by Omar Tugrul Inançer. He himself “migrated” to the hereafter on September 4, 2022. Inançer, who is a very good orator, has many works written in conversational style. It is among the aims of this article to evaluate the mysticism and daily life in his book, Vakte Karşı Sözler (Words Against Time), the first edition of which was published in 2006, in terms of our language. The book essentially consists of translating a Sūfī conversation carried out by Ayşe Şasa Oran with Omar Tugrul Inançer. The audio recording of this conversation was later deciphered by Berat Demirci and was also made into a book. There are two titles in this book on the subject of Sufism and daily life. The first of these is the conversation that took place around the questions asked by Ayşe Şasa. The second was held in 2003 at the Turkish Literature Foundation. This is the text of the conference given by Omar Tugrul İnançer. In this study, the effects of some mystical words in our language will be evaluated with the determinations of İnançer, based on both texts. Keywords: Turkish, word, Omar Tugrul Inançer, mysticism, daily life.

Wasi

Wasi Editorial note: From Siyam Napu't Siyam na Ngalang Pinakamamahal Ko, copyright © 2020 by Stefani J Alvarez. English translation copyright © 2022 by Alton Melvar M Dapanas. Translated by Alton Melvar M. Dapanas (bio) Click for larger view View full resolution Earlier today, as our car was on queue along the Saudi-Bahrain causeway, he turned down the stereo volume for a moment. "What will happen to this Filipini?" The Mary Jane Veloso trial was broadcasted on the local radio newscast. "Death penalty." Then I sipped the iced Americano, as wintry as the airconditioning on low cool. "Inshallah, she will go to jannah." And he turned up the volume, the song seasoned with jazz variations. Now a car away from the passport window of Saudi Immigration, I placed the coffee in the cup holder. I handed him my passport. He skimmed through a few pages of it. Maybe he was scouring for a story. Maybe he was searching for a riddle. Translation from the Filipino Note on the text: "Mary Jane Veloso is a thirty-six-year-old Filipina woman incarcerated on death row in Indonesia for drug trafficking. [She] was subjected to shocking fair trial violations, notably inept defense counsel, and a translator who was unable to translate proceedings into a language that Mary Jane knew. Mary Jane was convicted of illegally importing heroin into Indonesia, but she maintains that she was targeted by drug traffickers and had no knowledge of her role. . . . Though her case has elicited much public sympathy, Mary Jane is stranded between two nations, each aggressively pursuing their own war on drugs, and her future is uncertain." Source: "Mary Jane Veloso: A Geopolitical Pawn in Southeast Asia's War on Drugs," Cornell Center on the Death Penalty Worldwide, Cornell Law School On the Dagli A Translator's Note by Alton Melvar M. Dapanas Within the tradition of Philippine literature written in Filipino, an oeuvre independent from Philippine literature in English and literatures of other local languages, the dagli is a short prose piece that may be flash fiction or flash nonfiction or prose poem, or all, or none of them (see Ang Dagling Tagalog: 1903–1936, 2007). It is a genre that proliferated in vernacular magazines, newspapers, and periodicals at the dawn of the twentieth century after the Philippine-American War and the Treaty of Paris, when the Americans occupied the Philippines and the English language and American literature was imposed by the state (see Meg Wesling, Empire's Proxy: American Literature and U.S. Imperialism in the Philippines, 2011). The Encyclopedia of Philippine Art (1994/2020) defines the genre loosely as "vignettes or sketches" that could be traced back to the Tagalog pasingaw, the Binisayâ pinadalagan or binirisbiris (sometimes called dinalídalí or pinadagan), and the Spanish instantanea or rafaga, as "short account[s] . . . spontaneous and hurried quality . . . [either as] an explicit expression of a man's love for a particular woman, but at other times . . . highly polemical, expressing anti-American, anti-clerical themes." My browsing of the 1900 through 1940s periodicals archive confirmed my initial observation that this genre ranges aesthetically from oratorically highfalutin speeches to musings of a heartbreak (or in mine and the author's native tongue, maoy), from societal treatises to narrative, arcless anecdotes of the quotidian (e.g., Manila's El renacimiento; Cebu's Ang suga, El boletín católico, and Ang camatuoran). Such are poles apart from the dominant Euro-American short-story form advocated by Iowa Workshop-schooled, Rockefeller Foundation-funded Filipinos who brought American New Criticism within our native shores in the 1960s. [End Page 18] Stefani J. Alvarez Stefani J. Alvarez (she/her) won the Philippine National Book Award for Ang Autobiografia ng Ibang Lady Gaga (2015) and was a finalist for her novel Kagay-an, At Isang Pag-Ibig sa Panahon ng All-Out War (2018). She is currently an Akademie Schloss Solitude fellow in Germany. Alton Melvar M. Dapanas Alton Melvar M. Dapanas (they/them), Asymptote's Philippine editor-at-large, has contributed to Modern Poetry in Translation, Oxford Anthology of Translation, Rusted Radishes, Tolka, and Reliquiae. Copyright © 2023 World Literature Today and the Board of Regents of the University of Oklahoma...

Пунктуационная грамматика в переводе французского поэтического текста

The aim of the study is to identify the problems of conveying the punctuation organisation of the text in French-to-Russian poetic translation. The analysis of works by P. Verlaine, J. Cocteau, J. Prévert shows how the poets use poetic punctuation in the arrangement of their works and what role it can play in the expressive-stylistic explication of the author’s thought. In poetry translation, it is necessary to take into account discrepancies in the functioning of punctuation in different languages. The semantic and communicative context is organised in the French language with the help of punctuation means, in Russian, the role of punctuation marks increases in utterance organisation. In Russian, unlike French, the role of punctuation means increases significantly due to linguistic peculiarities. The study is novel in that it is the first to introduce the notion of punctuation grammar as a tool necessary for the adequate translation of modern poetic works that are arranged according to the author’s punctuation outside the generally accepted language norms, which leads to an ambiguous understanding of the text and requires additional efforts from the translator in their work. Punctuation grammar uses various means depending on the meaning of the work, style, graphic arrangement techniques for the organisation and holistic perception of the text. As a result of the study, it has been shown that in order to ensure the semantic-expressive explication of the author’s thought, some deviations from the rules are allowed, becoming the norm of poetic speech.

HYPERBOLE IN CLASSICAL CHINESE POETRY AND ENGLISH TRANSLATION

Classical Chinese poetry is a microcosm of the history of Chinese civilization, and plays a vital role in the process of communication and mutual learning between Chinese and Western poetics, historiography and civilization. Hyperbole is a rhetorical device with rich expressive power. In the process of poetry creation, poets often use the technique of numeral hyperbole to describe events, portray scenery, express emotions and aspirations, and achieve superb artistic effects. This paper expounds the artistic value of hyperbole in classical Chinese poetry, and summarizes three translation strategies of numeral hyperbole in the translation of classical poetry on the basis of corpus and literature analysis.

Tractors and Translators: Langston Hughes in Cold War Czechoslovakia

AbstractThe poet Langston Hughes was central to mid-century transnational exchanges and Cold War translation. This essay examines the poet's centrality through a new lens, presenting a case study on Czech translations of Hughes's poetry between 1950 and 1963 that draws on archival materials, especially the correspondence between Hughes and one of his Czech translators, Jiří Valja; paratexts; and analysis of translations. The essay shows how Hughes's poetry was translated into Czech against the backdrop of Cold War publishing politics and aesthetic norms, how the translations of Hughes's work operated in these contexts, and how Cold War translation emerged as a specific site of inquiry with its own challenges, contacts, and practices.

In/Subordination: Pseudo/Translation and the Cultural Cold War in Juan Gelman's The Poems of Sidney West

AbstractFrom 1968 to 1969 the Argentine modernist Juan Gelman invented and translated into Spanish a contemporary from the United States, named Sidney West, who wrote about small-town mid-American life. Traducciones III: Los poemas de Sidney West (Translations III: The Poems of Sidney West) is a pseudotranslation—a text disguised as a translation that in fact has no corresponding original. While most critics identify Gelman's recourse to pseudotranslation as a personal undertaking, this essay examines the experiment for the first time within the inter-American Cold War context of the 1960s, locating pseudo/translation as an in/subordinate poetic protocol particularly well equipped for intervening in the soft-power mechanisms of US cultural imperialism—in ways that are both treasonous and collaborative. This essay recovers the anti-imperialist politics of the West poems, expands conversations on translation in Gelman's poetry, and proposes pseudo/translation as a new, bifocal mode of reading for texts that forge cross-cultural contact.

Hugo, Translated: The Measures of Modernity in Muḥammad Rūḥī al-Khālidī's Poetics of Comparative Literature

AbstractIn the Ottoman-Palestinian intellectual Muḥammad Rūḥī al-Khālidī's Tārīkh ʿIlm al-Adab ʿind al-Ifranj wa-l-ʿArab, wa-Fīktūr Hūkū (1904, 2nd ed. 1912; History of the Science of Literature among the Europeans and the Arabs, and Victor Hugo), the figure of Victor Hugo marks the uneven chime and dissonance of select notes in Arabic and French literary epistemes and histories. Tracing Hugo's dictum that poetry inheres not in forms but in ideas to Arab-Islamic antiquity, al-Khālidī incarnates in Hugo the lost “nature” to which a fallen, “artificial” Arabic literature must return. In this regime of comparability, words must be cut to the measure of their meaning, and meter—poetic measure—tuned to the “natural” rhythms of speech. With al-Khālidī's translations of meter across time and language, this essay reads his translations of Hugo's theory and poetry (“Grenade”) to argue that the underlying concept of measure encodes a drive to equate the world's literatures and empires.

New Books across the Disciplines

New Books across the Disciplines

STUDY ON THE TRANSLATION STRATEGIES OF HANSHAN POEMS FROM THE PERSPECTIVE OF CROSS-CULTURAL PRAGMATICS

In Japan, Europe, the United States and other countries, Hanshan and his poems have intrigued great enthusiasm of scholars and the public. Since the 1950s, Hanshan poems have been constantly being translated and successfully spreading in the United States, which has exerted a great influence. With the continuous enhancement of the cultural soft power, China attaches great importance to the foreign translation of excellent traditional culture. The medium of translation is language, which is a cross-cultural pragmatic practice. By integrating cross-cultural pragmatics into studies of the classical poetry translation, the thinking and strategies used by translators in the process of translation can be explored in order to shed light on how to achieve cross-cultural communication goals in the future. In 1983, Songs of Cold Mountain translated by American folk scholar Red Pine is the first full English translation of the poetry. With the help of cross-cultural pragmatics, this paper analyzes the English translation strategy of Red Pine's Hanshan Poems and his handling of linguistic and cultural differences, which also provides some inspiration for Chinese literature to go out to the world and promote culture to "go global".

Образ китайской поэзии в переводах В. Перелешина

The research aims to determine how the image of Chinese poetry is created in V. Pereleshin’s translations and to identify the key features of his cultural dialogue with China. The paper is devoted to the analysis of the image of Chinese poetry in translations by V. Pereleshin, mainly involving the materials of his anthology of translations of Chinese classical poetry “Poems on the Fan” and autographs of translations of Chinese poems. The peculiarities of Pereleshin’s translations are revealed in terms of the poetic form, translation adequacy, the manifestation of the creative individuality of the translator and in terms of the range of themes of Chinese poetry. The paper substantiates that the compliance with the miniature genre of Chinese poetry and the strict rhyming of Russian poetry is a distinctive feature of Pereleshin’s poetic translations. The scientific novelty lies in the fact that the paper is the first to conduct a detailed comparative study of the image of Chinese poetry in translations by V. Pereleshin as a representative of the Far Eastern branch of Russian literature in the synthesis of two scientific approaches: Russian literary criticism and studies of the Chinese literary tradition. As a result, it has been proved that the vivid image of Chinese classical poetry created by Pereleshin gives a general view of the form, content and range of themes of shi and ci poems and leads to the understanding of the cultural dialogue of Russian émigré poets with China.

A Comparative Study on Two English Translations of Song of A Pipa Player from the Perspective of Translation Aesthetics

Poetry translation is a formidable task for the difficulty of achieving unity of form and content. This thesis analyzes two English versions of Bai Juyi’s Song of a Pipa Player from the perspective of translation aesthetics of Liu Miqing, one is Xu Yuanchong’s and the other is Witter Bynner’s. It is found that translation aesthetics theory is a thread running through two translations, and reasons of different translation choices can be explained from translators’ translation idea, thinking pattern and sensitivity of expressed emotion of the ST, which can be a guidance for poetry translation.

John Walton’s Invention of the Iambic Pentameter

ABSTRACT When Geoffrey Chaucer died in 1400, the decasyllable he invented in the late 1370s and raised to prominence in the 1380s and 1390s lay precariously in the hands of scribes and rivals. Of the poets to reform Chaucer’s meter in the first decade of the fifteenth century, John Walton devised the subtlest and most successful alternative to the inherited decasyllable, capitalizing on the full range of formal and grammatical ambiguities in Chaucer’s line and turning them from bugs into features, in an expanding program of new candidate meters. His revision of the decasyllable in De Consolatione Philosophiae (ca. 1410), a verse translation of Boethius and veiled satire on Chaucer’s Boece, uses the decasyllabic resource to fill several vacancies in the scramble for authority following Chaucer’s death.

Refrakcja refrakcji

REFRACTING THE REFRACTION: ANDRZEJ BUSZA’S TRANSLATION THEORY AND THE CANON OF CONTEMPORARY TRANSLATION STUDIES The article discusses the less-known theory of translation put forward by Andrzej Busza – a Polish-Canadian writer and translator, professor of University of British Columbia and co-founder of “Kontynenty” group in London. Busza, also esteemed as a poet and scholar studying the writings of Joseph Conrad, presented his views on translation theory in his essay published in Polish in 1983. Although the essay discusses the issue of semantic refraction in poetry translation, Busza’s interpretation of the term is different from the one proposed year earlier (1982) by André Lefevere. Thus, the article provides a comparative analysis of both ideas, viewing Busza’s concept as the first contemporary variant of the notion of “refraction” in Polish translation studies.

The reception and critique of literature in translation: Ahmad Shāmlū, the Poet-Translator and the case of Margot Bickel

Abstract Ahmad Shāmlū (1925–2000), modern Persian poet, is among those creative writers who showcase their mastery of language in translation as well. Among his translated works, which encompass both verse and prose, his translation of Margot Bickel’s Pflücke den Tag (1982) and Geh deinen Weg! (1989) is specifically noteworthy for tremendous success and high reception in the TL context, which is arguably beyond that of the original from a literary and critical perspective. As the analysis of sample poems from the two collections reveals, Shāmlū’s skilful rendition has actually produced poetry in the TL. Away from marginalizing the pivotal role of translation in cross-cultural literary exchanges, this study reflects on the critique of literature in translation and literary reception as prone to downplaying or magnifying the significance of SL text in TL critical and receptive evaluations. The paper initiates with an overview of the status of literary translation and its interface with comparative literature, and then briefly reviews two world-famous works of poetry translation and their reception in host cultures to set them as the background for the argument to be made about Shāmlū’s translation of Bickel’s works.

Night Truck Driver / Kierowca nocnej ciężarówki

Night Truck Driver / Kierowca nocnej ciężarówki