Translation Analysis
Since there is no a definitive translation of any text, multiple translations can allow us to conceive the original text (even though we don’t know the language of the source text). "The study of multiple translations substantially enlarges the interpretive process and perspectives that readers draw from the text" (Schulte 1994). In other words, comparing various translations of the same text as in (Charles Baudelaire Correspondence, A Multiple Reading of Rainer Maria Rilke 's “The Panther”, Gaius Valerius Catullus, and Gustave Flaubert, “Madame Bovary”) provide us with a clear understanding of the different perspective of the translators. For me, this comes as no surprise, because each translator has a different technique
…show more content…
Clearly enough, the above translations are not all exactly the same, nor are completely different. Some translators in their translations stick for a literal word-for-word translation of the source text, as in the Trot while, others take a freer style. Adding to that, the multiple translations show us how the personal imagination of the translators impacts their interpretation. That is, within the translation process the translators affected directly with their personal perception and visualization of selecting the appropriate meaning of the original text. Therefore, personal perception plays a significant role in choosing a particular word as well as in decision making. As a result, it leads to a slight change in terms of a visual, connotative, or semantic meaning of the target text. All in all, different translations may reflect different versions of the source text based on their …show more content…
i.e. when the translator encountered polysemy; each one had selected a different English word. To be more specific, when we look closely and compare the six translations of the Gustave Flaubert, “Madame Bovary”, to a certain word like “manœuvre” in the original text. It has been translated to various meanings, such as ritual, trick, game, maneuver, trick, and trick. Also, it is very interesting to note that three of the translators sticked with the word “trick”, and the other translators picked different words. Nonetheless, if we consulted a French-English dictionary, we find the following: action, artifice, dodge, intrigue, machination, move, movement, plan, plot, ploy, ruse, scheme, stratagem, subterfuge, maneuver, tactic, trick. If we check the etymology of the word “manœuvre” the result will be the following: “From Middle French manÅ“uvre (“manipulation, maneuver") and manÅ“uvrer (“to maneuver"), from Old French manovre (“handwork, manual labour"), from Medieval Latin manopera, manuopera (“work done by hand, handwork"), from manu (“by hand") + operari (“to work"). First recorded in the Capitularies of Charlemagne (800 CE) to mean "chore, manual task", probably as a calque of the Frankish *handwerc (“hand-work"). Compare Old English handweorc, handÄ¡eweorc, German Handwerk.” Looking
After the lecture by Harryette Mullen, I had different interpretations of the poems “Bilingual Instructions,” “Elliptical,” and “Why You and I.” Mullen’s poetry truly caught my eye more than any other poets poetry in this short amount of time because she is rule breaking and different. Before the lecture, I read these two poems multiple times, which allowed me to come up with my own thoughts and ideas of what the poems meant but when Mullen spoke out about the true meaning of her poems I found that my thoughts and ideas were not exactly correct.
In this two readings the narrator shows us how the conflict that happens in these two different reading connect in some way. For example, in The Legend of Sleepy Hollow it is said, “[..] he borrowed a horse from the farmer with whom he was domiciliated,”(18) Ichabod here has taken a horse form his friend. However, the way he presents himself within using the horse is what is funny “[...] and, thus gallantly mounted, issued
12. Many things in literature can be seen in different ways by different people. Usually there will be no distinct meaning, but places, events, and characters have a specific relationship.
Martin B. Shichtman, in his essay on Wace and Layamon, describes history as "the transcribing of the illusions of an age" (1987, 106). He states that for many scholars in the Middle Ages, translating histories was not so much a matter of setting down, word for word, what were considered to be "hard facts," but of expounding on the truths behind the material, as they were relevant to the time and audience for which they were written. This often involved the omission of some material from the primary source, the addition of new material to it, and the reinterpretation of events and attitudes expressed in the work.
"For the translator, who stands astride two cultures, possesses two different sensibilities, and assumes a double identity" —Husain Haddawy
Throughout the past two hundred years, many linguists have attempted to translate Dante Alighieri's Divine Comedy into English. While all have been successful in conveying the general meaning of various passages, diction and wordiness have varied wildly; no two translations are identical. This can be attributed to two factors: normal translational variation and the intent of the linguist. Taking both of these into account, John Ciardi's 1954 translation is far superior to the others.
Deep-seated in these practices is added universal investigative and enquiring of acquainted conflicts between philosophy and the art of speaking and/or effective writing. Most often we see the figurative and rhetorical elements of a text as purely complementary and marginal to the basic reasoning of its debate, closer exploration often exposes that metaphor and rhetoric play an important role in the readers understanding of a piece of literary art. Usually the figural and metaphorical foundations strongly back or it can destabilize the reasoning of the texts. Deconstruction however does not indicate that all works are meaningless, but rather that they are spilling over with numerous and sometimes contradictory meanings. Derrida, having his roots in philosophy brings up the question, “what is the meaning of the meaning?”
First, Trudgill demonstrates the transition of the word “aggravate”. Aggravate come from the Latin word “aggravare”, which means ‘to make heavier’. English borrowed this word and the definition became ‘to make more serious’. Now the common definition of “aggravate” is to ‘irritate’. Trudgill goes on to give another example of the word “nice”. “Nice comes from the ancient Indo-European word “skei” meaning ‘cut’ (skei” came from the Latin word “scire” which is ‘to know’ or to ‘be able to distinguish one thing from another’) and “ne” meaning ‘no’. The two words were combined into “nescire” which meant ‘to be ignorant of’. From “nescire” the word changed to “nescius” meaning ‘ignorant’, and then changed “nice”, which at
Locke, The New Negro, and the textual translation of the play, Madame Butterfly, into “M.
I have often been asked why I would translate this poem because apparently, a text cannot be important if someone has not translated it before. Because of this, completing this translation could seem like a silly task if one fails to see the importance of this poem both in its time as well as the information it can provide us today. Mexía and Clarinda add a work to “New World Literature” that presents medieval knowledge in a unique way that arguably effects later works (Vélez-Sainz 55). Clarinda’s poem presents this knowledge in a way that gives women and the South a place in poetry and knowledge. In a way, Mexía and Clarinda “translated” this medieval knowledge to push forward their own understanding of the concepts as well as introduce their own ideas about the concepts and their importance in their
André Lefevere (1992) proposes that translation is a rewriting of the source text, in which the relationship among various shareholders certainly influence the production of the target text. This is especially prominent in translating Lolita, which allows multiple interpretations; for instance, whether the tie between Lolita and Humbert Humbert is passionate love or destructive
According to Hermans, the understanding that translations can never be produced in a blankness, without taking into account the time and culture, and the will to clarify the time and culture bound criteria which are at play, gives rise to the shift in early eighties towards a evocative
Translation is a linguistic science, but it occurs within a theological and moral framework. The issue is a sensitive one, as theology involves an obligation to the text and morality involves an obligation to the
The Importance of the Brief for a Translator under the Framework of the Skopos Theory
The field of Computational Linguistics is relatively new; however, it contains several sub-areas reflecting practical applications in the field. Machine (or Automatic) Translation (MT) is one of the main components of Computational Linguistics (CL). It can be considered as an independent subject because people who work in this domain are not necessarily experts in the other domains of CL. However, what connects them is the fact that all of these subjects use computers as a tool to deal with human language. Therefore, some people call it Natural Language Processing (NLP). This paper tries to highlight MT as an essential sub-area of CL. The types and approaches of MT will be considered, and limitations discussed.