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LINGUIST List 16.2950

Wed Oct 12 2005

Diss: Applied Linguistics: Kenesei: 'Poetry Transla...'

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        1.    Andrea Kenesei, Poetry Translation through Reception and Cognition; the proof of translation is in the reading; (a model of phonetic translation criticism)

Message 1: Poetry Translation through Reception and Cognition; the proof of translation is in the reading; (a model of phonetic translation criticism)
Date: 10-Oct-2005
From: Andrea Kenesei <keneseiafreemail.hu>
Subject: Poetry Translation through Reception and Cognition; the proof of translation is in the reading; (a model of poetic translation criticism)

Institution: University of Pécs
Program: Ph.D. School of Linguistics, Applied Linguistics Program
Dissertation Status: Completed
Degree Date: 2005

Author: Andrea Kenesei

Dissertation Title: Poetry Translation through Reception and Cognition; The
proof of translation is in the reading; (a model of
phonetic translation criticism)

Linguistic Field(s): Applied Linguistics

Subject Language(s): English (eng)

Dissertation Director(s):
Jozsef Andor

Dissertation Abstract:

Chapter 1 provides a short historical review of text research, translation
theory and cognitive linguistics.
Chapter 2 outlines the practical implementation of the research-the venues,
time allotted, factors ensuring the homogeneity of the readers' background
knowledge, reasons for the selection of the texts and the questionnaires.
Then it discusses the task-related theoretical information, with which the
readers were familiarized preceding their interpretations, discusses the
objectives and makes hypotheses.
Chapter 3 outlines the common points of information processing
interpretation. Poetic language, which is supposed to convey exclusively
aesthetic pleasure, is compared to ordinary language. The assumption is
that mental conceptual processing take place in a similar fashion during
the reception of both languages.
Chapter 4 provides an outline of poetry translation. It discusses the
translator's role as first reader and enumerates the common cognitive
features of translation and interpretation.
Chapter 5 discusses the results of reception as measured through
conceptualisation on global level. Divergences in ST and TT receptions can
be verified through transfer operations. Among the transfer operations the
lexical changes are of primary significance-the semantic connotations of
the items are responsible for the receptions. Readers' interpretations can
be measured and analyzed with objective methods if the cognitive projection
of the reception is assessed parallel with the linguistic analyses. The
numerical transformation of the data enables an objective assessment and
criticism of poetry translation. Parallel translations are investigated and
with the receptive-cognitive-transformational method the poems are graded.
The assumption is that poetry and poetry translation are to be observed
separately, as excellent poems are produced from the point of view of
literary criticism, however, from a translational viewpoint, the texts can
be less successful. A novel mental conceptual unit, picture, is introduced,
which is a concept of emotional effects based on activities. The assumption
is that pictures as abstract concepts grounded on concrete activities can
be traced in the influence on mental processes exerted not only by poetic
language but non-literary texts.
Chapter 6 observes data as gained by conceptualisation on local level. Both
global and local receptions convince us that it is possible to refute
non-translatability?81% (global) and 94% (local) of translations are
successful in view of 96 ST and 103 TT poems. Local reception can be
measured not only through stanzas but diction too, by determining the
semantic fields. A cardinal point in poetry translation is fidelity to form
and/or content and their proportions. The rhyme schemes are observed and
compared to the receptions of the content. The adequacy of translation is
in direct proportion with the equal retaining of content and rhyme scheme.
Chapter 7 contains the model of poetry translation criticism, which is
based on 9 categories:
1. global conceptualisation through titles;
2. local conceptualisation through stanzas;
3. finding the lexical item that conveys the poetic message;
4. rhyme-reception correlation;
5. frame-based conceptualisation;
6. picture-based conceptualisation;
7. scene-based conceptualisation;
8. script-based conceptualisation;
9. subjective opinion about the originality (ST or TT) of the poems.
Numerical data gained from these categories enables critical assessment of
poetry translation. Issues emerging during the analyses, which need further
investigation constitute the final section of the last chapter.

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