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Title:
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Poetry Translation through Reception and Cognition; The proof of translation is in the reading; (a model of poetic translation criticism)
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Author:
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Andrea Kenesei
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Email:
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click here to access email
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Degree Awarded:
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University of Pécs
, Ph.D. School of Linguistics, Applied Linguistics Program
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Degree Date:
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2005
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Linguistic Subfield(s):
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Applied Linguistics
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Subject Language(s):
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English
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Director(s):
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Jozsef Andor
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Abstract:
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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 peceptive-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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