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
Because contemporary network science is predicated on the assumption that similarity breeds connection, it transforms what seems to be an open web into poorly gated communities that propagate...Show moreBecause contemporary network science is predicated on the assumption that similarity breeds connection, it transforms what seems to be an open web into poorly gated communities that propagate already-existing forms of prejudice and discrimination. If the algorithmic fabric of social media platforms pushes people with the same views and interests towards each other, what does this mean for queer individuals in Beirut inhabiting a city whose very urban fabric segregates and limits their interaction in public space? What possibilities can the digital realm provide queer lives in a cyberspace unhinged by the geography of residence and the materiality of the body? I attempt to answer those research questions by relying on Sara Ahmed’s Queer phenomenology (2006) and on Wendy Hui Kyong Chun’s (2016) concept of “homophily”. Those theoretical lenses will guide my use of auto-ethnography and close visual analysis to explore the outputs and social media strategies of two case studies of visual activism in Lebanon: Beirut By Dyke and Kikafilmadina. My personal experience as a member of civil society groups in Beirut and my positionality as the creator of Beirut By Dyke orient me, to borrow Sara Ahmed’s term, towards these pages as cultural objects. The concept of the social media accounts, which revolves around the narrativization of queer inhabitance in space, propels me toward Sara Ahmed’s theory around sexuality as residence. Conversely, the social impact generated by both social media accounts on collective imaginations and social participation in cyber and physical space leads to me to question how “homophily” (Chun 2016) can be used to challenge the neoliberal assumptions it was built on. My aim is to counter existing literature around gender and digital culture whose understandable focus on the capitalistic and behaviorally predictive valence of social platforms is grim and dystopic (Goldberg 2016). Instead, I suggest that the study of platforms like Instagram offers a resource for queer studies insofar as it “emphasizes the importance of lived experience, the intentionality of consciousness, the significance of newness, or the role of repeated habitual action in shaping bodies and the world” (Ahmed 57). It is specifically the power of repeated habitual actions that I want to focus on in exploring digital possibilities. In a context where systemic oppression is difficult to dismantle and social change impossible to imagine, the creation of new paths is, after all, a labor of repetition.Show less
