Translating cultural references (CRs) in literature is notoriously difficult and depends on context, significance of the CR in the text, and familiarity of the TT reader with the source language...Show moreTranslating cultural references (CRs) in literature is notoriously difficult and depends on context, significance of the CR in the text, and familiarity of the TT reader with the source language and culture. TT readers’ needs can be expected to be different depending on their knowledge of the source language and culture. This means that for one language pair, strategies for the translation of CRs still differ, depending on directionality of the translation. This study provides a quantitative analysis of the first 100 CRs from 5 novels translated from English to Dutch, and 5 novels translated from Dutch to English. The translation pairs were categorized by translation strategy (using Olk, 2001) as well as by type of CR (using Grit, 1997), analysing the degree of domestication or foreignization of the overall translation strategies as well as the strategies per CR type. The analysis shows that, overall, the strategies used for translating from English to Dutch are more foreignizing. The results from this study may be used to aid translator’s choices by providing insight into the effect of their individual choices, as well as future reader reception studies.Show less
After the Black Lives Matter movement started, racism has become strictly taboo in the United States. This increased political correctness has also spread to the Netherlands, whose government has...Show moreAfter the Black Lives Matter movement started, racism has become strictly taboo in the United States. This increased political correctness has also spread to the Netherlands, whose government has only recently apologised for its contribution to slavery. As a result of this increased political correctness, taboo and offensive language has been a frequently studied topic in Translation Studies for the past few decades. While the translation of racial slurs has been studied frequently in subtitling, there has not been as much research into the translation of racist discourse in literary works. Moreover, publications that studied racism in literary translations have mostly focused on the translation of racial slurs or Black Vernacular, rather than analysing racist language in general. In this thesis, a comparative analysis is conducted in the form of a close reading of a selection of phrases that contain racist and racial discourse in To Kill a Mockingbird and its two Dutch translations. The first Dutch translation appeared in 1961 and the retranslation was published in 2010. The aim of this case study is to analyse how the translator of the Dutch retranslation was affected by changing social norms regarding racism in his translation choices. The results show that the 2010 retranslation generally contained fewer offensive terms compared to the first Dutch translation. While it is not always clear what motivated this translation strategy, the analysis shows that in some cases it is definitely the result of changing social norms regarding racism. It can therefore be argued that the 2010 retranslation is more politically correct than the 1961 translation. Furthermore, it can be concluded that while the retranslation hypothesis has been debunked, the 2010 translation does appear to be a more literal rendering of the source text than the 1961 translation.Show less
This thesis examines the translation approach towards the rendering of register in the German children’s novel: Tintenherz by Cornelia Funke (2003) and its translations into Dutch, Hart van Inkt...Show moreThis thesis examines the translation approach towards the rendering of register in the German children’s novel: Tintenherz by Cornelia Funke (2003) and its translations into Dutch, Hart van Inkt translated by Hanneke Beneden and Ab Bertholet, and into English, Inkheart translated by Anthea Bell. A register analysis was carried out on the three novels in two phases: a situational-context analysis and an analysis of the lexicogrammatical realizations of field, tenor and mode. This analysis found that in the Dutch translation the rendering of register was predominantly source-oriented. It furthermore found that the English target text applied more target-oriented renditions of register than the Dutch target text did. However, the overall approach of the English target text was also source-oriented. Thus, this thesis showed that the rendering of register in the Dutch and English translations of Tintenherz was predominantly source-oriented.Show less
The major translated work, presented here at the end, is a short story, ‘ANNUS DOMINI 11000’, published in 1874. This piece displays within itself a wide variety of styles, and serves as a mini...Show moreThe major translated work, presented here at the end, is a short story, ‘ANNUS DOMINI 11000’, published in 1874. This piece displays within itself a wide variety of styles, and serves as a mini-exemplar of the breadth of van Nievelt’s writing throughout his career, and the flexibility he showed. This variety is further demonstrated by four other shorter translated excerpts of very different types of prose. Taken together, the five translations make clear the challenges van Nievelt presents for an historicising, literary translator. Each piece is introduced with a short section outlining its context and place within van Nievelt’s oeuvre, and describing the major stylistic considerations applicable to its translation.Show less
The aging of retranslations has been getting more attention in the last few decades. Yet not much research has been conducted that can easily be replicated. In this study, the method by Van Poucke ...Show moreThe aging of retranslations has been getting more attention in the last few decades. Yet not much research has been conducted that can easily be replicated. In this study, the method by Van Poucke (2017) is used to find out if the first translation of 1984 by George Orwell has aged. 1984 was chosen because of the relevance that it still has and because it can add to the limited research that has been done on retranslating science fiction. Two Dutch translations were analysed, namely the first translation by Kool (1950) and the second and most recent translation by Davids (1984). The first chapter of the two translations was analysed to find out if lexical and stylistic aging could be found. Furthermore, the translations were analysed on the aging of technological concepts. Van Poucke’s method was used, because it is the leading method that operationalizes the research of aging. The findings show that lexical aging could not be determined in the first translation. For stylistic aging, much more evidence was found. After conducting this research, it can be concluded some evidence has been found that the first translation of 1984 has indeed aged and the aging of the first translation could have been a reason for retranslating the novel.Show less
Trauma resists integration into the memory and is therefore difficult to communicate. In trauma literature, authors represent this difficulty to communicate trauma with the help of several...Show moreTrauma resists integration into the memory and is therefore difficult to communicate. In trauma literature, authors represent this difficulty to communicate trauma with the help of several stylistic devices, such as run-on sentences, unclear references, and deviant punctuation. These stylistic devices allow the readers to experience the trauma as if it was happening to them. Since the communication of trauma is already problematic in itself, the interlingual translation of trauma literature is even more challenging. Translation universals suggest that deviant stylistic choices in the source text (ST), i.e. the stylistic devices used to portray trauma in trauma literature, are often normalized in the target text (TT). In this thesis, I examined how interlingual translation affects trauma narratives and whether the stylistic choices associated with trauma are retained in translation. I answered these questions with the help of a case study on "Extremely Loud & Incredibly Close." In order to examine the different stylistic devices used to portray trauma, and in order to find out what happens to them in translation, I conducted a comparative reading of the chapter “WHY I'M NOT WHERE YOU ARE 9/11/03” and its translation “WAAROM IK NIET BEN WAAR JIJ BENT 11-9-03.” I categorized my findings with the help of translation universals, during which I found evidence of a missing universal. Furthermore, I found that the translation choice with the biggest consequences is the splitting up of run-on sentences. By taking a closer look at some of the longest run-on sentences in the chapter and perhaps even the book, namely the run-on sentences consisting of more than a hundred words, I discovered that more than half of these sentences were split up. As a result, the intended effect of the run-on sentences on the reader is also not transferred, and therefore elements of trauma are lost in translation.Show less
Despite the fact that in our day and age in which downloading movies, streaming Netflix, and playing online games have become a mainstream source of entertainment for many, a vast audience still...Show moreDespite the fact that in our day and age in which downloading movies, streaming Netflix, and playing online games have become a mainstream source of entertainment for many, a vast audience still knows how to make their way to the theater. In addition to the grand Broadway showstoppers, there are a number of musicals that bring an additional set of features to the stage and provide the audience with an insight into the cultural, historical, political or societal background against which these stories are set. England-based Billy Elliot incorporates ‘songs in community centres, village halls, and pubs, [set] during the 1970s and early 1980s with the aim of exposing the inequalities of British Society from a Marxist perspective’ (Gordon, 2016, p. 426). Through the use of Venuti’s dichotomous notions of foreignization and domestication, this thesis attempted to find whether these cultural-historical musicals allow for translatability and what role his notions play in the process. Set within the framework of a target text-oriented DTS-based comparative analysis, the areas of culture, class, and dialect are examined which play a significant role in Billy Elliot and many other cultural-historical musicals. While other studies on foreignization and domestication have primarily found a preference for domestication (McKelvey, 2001; Xu & Tian, 2013; Yılmaz-Gümüş, 2012), this three-fold study rather found an overall compensating strategy in which culture and class received a more domesticating approach while the dialect was approached through foreignization – a compromise in order to chiefly retain the musical’s source culture and simultaneously educate and entertain the target culture’s audience.Show less
In light of the Cultural Turn of translation studies, this case study focusses on the role of the translator; specifically on the possible connection between ideological manipulation (Lefevere) of...Show moreIn light of the Cultural Turn of translation studies, this case study focusses on the role of the translator; specifically on the possible connection between ideological manipulation (Lefevere) of the source text and the visibility of the translator (Venuti) in the target text. Though the hypothesis suggests such a connection, discourse analysis did not show any evident results.Show less
In this paper, I aim to assess the translation quality of Tommy Wieringa’s Joe Speedboot using House’s translation quality model. In translation, the choices a translator makes affect the reader’s...Show moreIn this paper, I aim to assess the translation quality of Tommy Wieringa’s Joe Speedboot using House’s translation quality model. In translation, the choices a translator makes affect the reader’s response. House’s model for translation quality assessment tests these choices and makes a distinction between an overt and covert translation. An overt translation is ST oriented; cultural specific elements are retained in the TT and it is not directed at the TT readers, whereas a covert translation enjoys the status of an original in the target culture. The model focuses on the lexical, syntactic and textual means used to construct the register of a text. The application of House’s TQA model to Wieringa’s Joe Speedboot will show whether it is covert, overt or an interplay of both.Show less
