Slang is a nonstandard informal vocabulary peculiar to a group. In this digital age, the reproduction and evolution of slang words has become faster due to the digital platforms that they are often...Show moreSlang is a nonstandard informal vocabulary peculiar to a group. In this digital age, the reproduction and evolution of slang words has become faster due to the digital platforms that they are often used in. Research has been done on the lexical aspects of slang and slang in general (Sornig (1981); Metcalf (2002)), and on forms of digital slang (McCulloch (2019)), but none view slang as a mode of translation and applied it to to other types of text besides messages on social media. This thesis will address where digital slang terms come from, and if their origins can help explain how likely they are to be understood by someone who speaks regular English. To do so I will annotate a slang translation of Harry Potter, and research the etymological origins of the slang to try to discover - using Metcalf’s (2002) FUDGE theory - which slang terms are more likely to be understood. I expect to find that the slang terms that more closely resemble regular English words are more likely to be understood.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 Netherlands is a country with a subtitling tradition. This tradition would suggest that Dutch viewers generally have a more positive attitude towards Dutch subtitling compared to Dutch dubbing....Show moreThe Netherlands is a country with a subtitling tradition. This tradition would suggest that Dutch viewers generally have a more positive attitude towards Dutch subtitling compared to Dutch dubbing. However, this subtitling tradition does not seem to have been established at the hand of the attitudes of Dutch viewers towards both modes, considering these attitudes have received nearly no coverage in academic work. This is problematic, since a lack of data on these attitudes makes it challenging for translators of audiovisual media to create translations that are suitable for a Dutch audience. Therefore, this thesis collected data on the attitudes of 53 Dutch participants towards Dutch subtitling and dubbing in the Netherlands through an online questionnaire. The results show that the participants prefer Dutch subtitles over Dutch dubs, but also rate the overall quality of both modes in a similar manner and even list slightly more disadvantages for Dutch subtitles than Dutch dubs. There also appears to be a consensus amongst the participants that children are the main target audience for Dutch dubs, and most participants indicated that Dutch dubs are the most suitable for children’s programs, cartoons and commercials. Furthermore, 69.8% of the participants believe that there is a negative stigma surrounding Dutch dubs and 88.7% of the participants stated that they do not desire for more audiovisual media to become available with Dutch dubs. Additionally, 49.1% of the participants indicated they do not desire for more audiovisual media to become available with Dutch subtitles either. Although 56.6% of the participants indicated they do not feel restricted by Dutch subtitles, the majority of the participants stated that they frequently disagree with the translation choices in Dutch subtitles. Finally, 66% of the participants indicated that they prefer English subtitles over Dutch subtitles. While these findings only represent the attitudes of 53 Dutch viewers, they can form a starting point for future research regarding attitudes towards both modes in the Netherlands.Show less
This research investigates the use of translation techniques for figures of speech related to meaning: metaphor, simile, personification, metonymy, synecdoche, synaesthesia. Three direct...Show moreThis research investigates the use of translation techniques for figures of speech related to meaning: metaphor, simile, personification, metonymy, synecdoche, synaesthesia. Three direct translations from Italian to Chinese of "Inferno" are taken into consideration.Show less
There is a serious lack of research in the interdisciplinary field of humour in translation. In order to contribute to this field, this thesis discusses the analysis and translation of a humorous...Show moreThere is a serious lack of research in the interdisciplinary field of humour in translation. In order to contribute to this field, this thesis discusses the analysis and translation of a humorous short story by Douglas Adams. Verbally expressed humour, subdivided in verbal and referential humour, is argued to stem from incongruity and more specifically script opposition (Raskin, 1985; Attardo & Raskin, 1991; Attardo, 1994, 2001). The notion of ‘equivalence’ in the field of humour in translation is discussed and several translational procedures for translating verbally expressed humour are explained. The short story, Young Zaphod Plays It Safe (originally published in 1986), is then subjected to a stylistic analysis based on Leech & Short’s (2007) checklist of stylistic and linguistic categories, which shows that Adams’s style is largely characterised by his use of humour. The translation of the short story is accompanied by annotations commenting on important translational choices that affect the style of the text. Referential humour that is not culturally bound is easily transferred, but verbal humour such as puns and register humour poses a problem to the translator, who needs to choose between stylistic or semantic faithfulness. The thesis concludes with the remarks that humour theory lacks a formal set of guidelines for identifying instances of verbally expressed humour; that research in the field of humour in translation should focus on either verbal humour (puns and register humour) or culturally bound referential humour; and that the field of stylistics might be advantaged by a more in-depth analysis of Adams’s idiomatic style.Show less
El Saco de Amberes is an unedited play whose authority has been questioned by academics -the question remains of whether it was written by Calderón de la Barca, as the two copies that are left...Show moreEl Saco de Amberes is an unedited play whose authority has been questioned by academics -the question remains of whether it was written by Calderón de la Barca, as the two copies that are left affirm, or Rojas Zorrilla. This is an edition of the text that can be found in the eighteenth-century prints found in the Castilla-la-Mancha library and the Institut del Teatre, the two only copies left of this play. This edition includes a thorough introduction and a a version of the text translated to English.Show less
This thesis explores the characterization of Frank Underwood in the Netflix Original Series House of Cards, and more specifically how Frank’s characterization changes due to certain translation...Show moreThis thesis explores the characterization of Frank Underwood in the Netflix Original Series House of Cards, and more specifically how Frank’s characterization changes due to certain translation choices. James R. Keller (2015) argues that Frank resembles the ‘vice’ – a figure from the early modern stage that is also related to the well-known villain – and describes a number of traits. These traits are linked to Frank’s language use by using Culpeper’s stylistic framework of characterization cues (2001), resulting in a qualitative analysis of the Frank’s language use. Next, Vinay and Darbelnet’s procedures (1995) and Gambier’s subtitling procedures (2006) are used to analyze the way in which Frank’s character statements and metaphors have been translated. The analysis shows that fewer information than expected was omitted in the translation, despite the spatiotemporal constraints and technical limitations inherent in subtitling. Any changes seemed to result in a change in emphasis, but not in characterization interpretation. Other information sources, such as video and audio that complement the subtitles, also confirm the character traits.Show less
The analysis of translation poses a number of challenges, ranging from establishing what constitutes ‘good’ translation to assessing how felicitous a particular phrase is in a given context. When...Show moreThe analysis of translation poses a number of challenges, ranging from establishing what constitutes ‘good’ translation to assessing how felicitous a particular phrase is in a given context. When this context is politics, and the translations analysed are political speeches, there are even more factors to be considered. This paper analyses political speeches made in English or Polish as well as their written translations in the other language. The data gathered for the purpose of this paper is a set of six texts, three speeches and their translations. This paper uses a multi-layered model of discourse analysis to investigate a number of specific categories related to the layers of knowledge, agents and the text itself. The paper finds that one of the speeches was created with the explicit aim to be translated into English, while the other two are mainly focused on the audience that speaks the language of the source text. Overall, the results of this paper suggest that comparing the linguistic aspects of a speech and its translation can reveal potentially useful characteristic such as the intended target audience, culturally-significant items or names whose full meaning is particularly difficult to render in another language. The implications of this paper indicate that a similar analysis performed on a much larger scale could provide findings that are more generalisable.Show less
De Militaire Willemsorde, a Dutch play by Rosier Faassen, can be found in the Special Collections of the Leiden University Library. It exists in several different versions, in print as well as a...Show moreDe Militaire Willemsorde, a Dutch play by Rosier Faassen, can be found in the Special Collections of the Leiden University Library. It exists in several different versions, in print as well as a manuscript in beautiful nineteenth century script, dating from 1873 until presumably 1885. This historical drama about a family torn apart by a young soldier going to war had never since been edited. After all these years, a new edition was made so that yet again this humorous play with experiences recognizable to many generations can be performed and studied anew. Furthermore, a biographical element also appears in the edition whereby parts of Faassen’s auto-biography, which also has not been edited since the late nineteenth century, was used. To provide access to the text for a broader audience, the text was translated from Dutch to English. Much of the same considerations being used to edit the text were also used to prepare the translation. Hunter’s Editing Early Modern Texts as well as Mathijsen’s Naar de Letter was used in the editing process, as a framework and point of guidance. The edition takes the form of what Mathijsen calls a ‘study-edition’ , and contains a historical, critical edition of the text, as well as a justification of the choice of copy text, extensive commentary on the text, including historical and biographical information as well as a stylistic analysis of the text (based on Leech and Short). The translation is preceded by a theoretical framework on the process and strategies that were used in the translation of this drama from the nineteenth century. The overall procedure for the translation of the text was centered around the notions of domestication versus foreignization (Venuti) as well as notions of historicization and modernization, and performability (Bassnett and Lefevere). Vinay and Darbelnet’s translation procedures were discussed and used in the annotated translation, to describe the procedures used for the variety of translation problems that arose during the process. Lefevere’s work on translation as rewriting is especially relevant here, as he also remarks that “the same basic process of rewriting is at work in translation, historiography, anthologization, criticism, and editing” (9). In Lefevere’s words lies the suggestion that a natural relationship exists between translation studies and the world of the editor and philologist, which in reality seems to be a struggled one. Translation is often underrated by philologists, with their translated texts being used for instrumental purposes. A discussion about the mutual importance of translation and philology, and the recognition awarded in their respective fields was necessary here. The question: “How can the fields of philology and translation be reconciled in the edition and translation of De Militaire Willemsorde?” is answered in the final chapter.Show less
De Militaire Willemsorde, a Dutch play by Rosier Faassen, can be found in the Special Collections of the Leiden University Library. It exists in several different versions, in print as well as a...Show moreDe Militaire Willemsorde, a Dutch play by Rosier Faassen, can be found in the Special Collections of the Leiden University Library. It exists in several different versions, in print as well as a manuscript in beautiful nineteenth century script, dating from 1873 until presumably 1885. This historical drama about a family torn apart by a young soldier going to war had never since been edited. After all these years, a new edition was made so that yet again this humorous play with experiences recognizable to many generations can be performed and studied anew. Furthermore, a biographical element also appears in the edition whereby parts of Faassen’s auto-biography, which also has not been edited since the late nineteenth century, was used. To provide access to the text for a broader audience, the text was translated from Dutch to English. Much of the same considerations being used to edit the text were also used to prepare the translation. Hunter’s Editing Early Modern Texts as well as Mathijsen’s Naar de Letter was used in the editing process, as a framework and point of guidance. The edition takes the form of what Mathijsen calls a ‘study-edition’ , and contains a historical, critical edition of the text, as well as a justification of the choice of copy text, extensive commentary on the text, including historical and biographical information as well as a stylistic analysis of the text (based on Leech and Short). The translation is preceded by a theoretical framework on the process and strategies that were used in the translation of this drama from the nineteenth century. The overall procedure for the translation of the text is centered around the notions of domestication versus foreignization (Venuti) as well as notions of historicization and modernization, and performability (Bassnett and Lefevere). Vinay and Darbelnet’s translation procedures were discussed and used in the annotated translation, to describe the procedures used for the variety of translation problems that arose during the process. Lefevere’s work on translation as rewriting is especially relevant here, as he also remarks that “the same basic process of rewriting is at work in translation, historiography, anthologization, criticism, and editing” (9). In Lefevere’s words lies the suggestion that a natural relationship exists between translation studies and the world of the editor and philologist, which in reality seems to be a struggled one. Translation is often underrated by philologists, with their translated texts being used for instrumental purposes. A discussion about the mutual importance of translation and philology, and the recognition awarded in their respective fields was necessary here. The question: “How can the fields of philology and translation be reconciled in the edition and translation of De Militaire Willemsorde?” is answered in the final chapter.Show less
This thesis provides a terminology for mutual legal assistance using a selection of terms from the WOTS (Wet Overdracht Tenuitvoerlegging Strafvonnissen). Each Dutch term is accompanied by an...Show moreThis thesis provides a terminology for mutual legal assistance using a selection of terms from the WOTS (Wet Overdracht Tenuitvoerlegging Strafvonnissen). Each Dutch term is accompanied by an English term, definitions of both the Dutch and the English term, a reliability number and often by additional information. The terms are extracted from treaties, national law and the work of legal scholars. The terminology differentiates between US and UK terms when necessary. The approach of the terminology is founded on the theoretical framework, which discusses legal terminology by means of legal translation, terminology and equivalence.Show less
This thesis aimed to determine whether and to what extent the quality of translations can be improved by taking into account differences in cross-cultural discourses and communication. In...Show moreThis thesis aimed to determine whether and to what extent the quality of translations can be improved by taking into account differences in cross-cultural discourses and communication. In particular, this thesis researched the quality of translations of Dutch online museum marketing texts into British English and the possibility of improving this quality by using a dimensional model of culture. It was expected that Dutch respondents would favour the original translated text, as it paralleled the original text which was written for a Dutch audience and that British respondents would favour the new translated text, as it was adapted to fit the communicative needs of a British audience. The results of this thesis did not meet the expectations. The choice of translation only significantly differed between nationalities on the dimension long-term orientation. No significant differences were found on the dimensions Tough versus Tender Index and Uncertainty Avoidance Index. Furthermore, both the statistical results and the qualitative survey responses on all dimensions were not as expected. There were some indications that individuals remarked on certain changes in the text, but there was no evidence that supported the hypothesis that Dutch respondents would notice different cultural markers than the British respondents. Overall, the new translated text was preferred over the original translated text (67% said they preferred the new translated text) and the new translated text was, in general, commented on in a more positive way than the original translated text. This means that while the results did not prove that cultural dimensions were a determining factor in choice of translation, the texts that were translated by a professional bilingual translator using systematic translation assessment and a cultural dimensional model were preferred and valued more positively.Show less
Set in Nazi Germany and told from the perspective of Death, The Book Thief by Markus Zusak tells the story of a young German girl named Liesel who stubbornly tries to read books despite the forces...Show moreSet in Nazi Germany and told from the perspective of Death, The Book Thief by Markus Zusak tells the story of a young German girl named Liesel who stubbornly tries to read books despite the forces in her life trying to keep her from doing so. The Book Thief has been classified as postmodern – and, more specifically, magic realist – holocaust fiction (Adams 2011). This thesis analyses the translation of the novel's postmodern elements both in the Dutch translation of The Book Thief by Annemarie Lodewijk, released in 2009, and the film adaptation, released by Sunswept Entertainment in 2013. Rather than weighing in on whether The Book Thief is “better” as a book than as a film, this thesis instead attempts to analyse whether the film adaptation is effective in conveying postmodern elements, and whether the Dutch subtitles are effective in capturing the source material's postmodern character.Show less
This thesis is a report on the research into the translation of advertising texts with a persuasive function that contain a so-called “cultural filter”. This cultural filter is formed by five...Show moreThis thesis is a report on the research into the translation of advertising texts with a persuasive function that contain a so-called “cultural filter”. This cultural filter is formed by five dimensions of cross-cultural differences that were distinguished by translation scholar Juliane House after her research into written and spoken English and German texts. The main issue is that House does not provide information on the linguistic features that allow these dimensions to be identified in translation. This thesis has adapted House’s model to include the linguistic elements that are characteristic for each of the individual dimensions. My research commenced with the consultation of sources on advertising strategies as well as sources who comment on the link between text functions, linguistic choices and effect on the reader such as De Mooij, Nord, Halliday and Swan. This resulted in an overview of expected linguistic features that could be indicators for the various dimensions. This overview was then used for the identification of House’s dimensions in persuasive texts in the Dutch and English IKEA catalogues. After analysis of the texts in the catalogues, the conclusion was reached that it is possible to predict the linguistic choices a translator can make in order to establish a cultural filter. An initial overview of expected linguistic features was adapted to incorporate the findings and a preliminary set of tools, including a checklist and suggested translation procedures for each dimension, was created. Furthermore, analysis of the texts in the Dutch and English IKEA catalogues proved that the Dutch text has the tendency to be more direct, more explicit and more oriented towards addressees.Show less
“It is a truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife.” The opening sentence of one of Jane Austen’s most famous romantic novel Pride...Show more“It is a truth universally acknowledged, that a single man in possession of a good fortune must be in want of a wife.” The opening sentence of one of Jane Austen’s most famous romantic novel Pride and Prejudice does not only claim a universal truth on love and marriage, it also provides insight into the perceptions of love and the norms and values that govern love in the 19th Century, as does the entire novel. However, society and the social-cultural norms governing it have changed immensely since the nineteenth-century world of Pride and Prejudice, it is therefore more than likely that a modern contemporary audience, without any social-historical or cultural background, would not fully understand the social and cultural setting of the novel. Furthermore, the practice of and ideas surrounding translation also underwent great change. This thesis researches whether the changes in socio-cultural norms and perceptions are noticeable in diachronic research of romantic literature in translation, on either a linguistic (stylistic) or cultural level, by conducting a comparative study of Dutch translations of Austen’s Pride and Prejudice.Show less
Traditionally, grammar is important in translation. However, translation quality assessment often does not pay much attention to the correct use of grammar and information structure. This research...Show moreTraditionally, grammar is important in translation. However, translation quality assessment often does not pay much attention to the correct use of grammar and information structure. This research aims to investigate whether Hannay and Mackenzie’s five principles for effective writing in English can be used to provide a guideline for the assessment of grammatical constructions. The study contained a literature review and a questionnaire, which focused on quality assessment of Dutch to English translations in which the five principles are applied. Although the number of respondents is slightly small, there are interesting findings. Especially principle 1 and principle 5 are recognized and those translations are assessed as grammatically correct. The study also found that native speakers of English are more strict in their assessment than non-native speakers of English, who are more tolerant towards minor errors.Show less
This thesis compares the standard use of intralingual subtitling in the Netherlands with the dominant form of intralingual subtitling, or impact captioning, in Asian countries such as Japan, Korea,...Show moreThis thesis compares the standard use of intralingual subtitling in the Netherlands with the dominant form of intralingual subtitling, or impact captioning, in Asian countries such as Japan, Korea, and China: so called open caption telop (OCT). These open captions differ greatly from the subtitles we are used to seeing in the Netherlands, and are more so used to emphasize and create impact, rather than the subtitles in the Netherlands for the deaf and hard-of-hearing, strong accents or dialects, or as a learning tool for foreign language speakers. Research into the effects of OCT on a non-Asian, western audience has rarely been done, which makes it all the more important to gather some insight into this phenomenon. This thesis attempts to do so by conducting a small research into the thoughts of Dutch viewers on Asian-style open caption telop. Three short clips of popular Dutch entertainment programs had OCT added edited into them and were shown to a group of 40 respondents, both male and female and of various ages. They were then asked to fill in a short questionnaire, and some were asked to elaborate on their answers. The results of this research were used to determine whether the Dutch viewer public appreciates the forms and functions of OCT and whether this type of subtitling could, in theory, be implemented in Dutch television programs.Show less
The purpose of this thesis is to discern whether Dutch gamers and non-gamers want to play games in Dutch and if so, what they think of existing translations. In order to investigate the research...Show moreThe purpose of this thesis is to discern whether Dutch gamers and non-gamers want to play games in Dutch and if so, what they think of existing translations. In order to investigate the research question, an online survey was created and distributed amongst a Dutch sample audience consisting of five different types of gamers, including non-gamers; questions involved the subject’s opinions on several areas of videogame translation and localisation, with a focus on subtitling and dubbing. My hypothesis was that the target group would be willing to play more games if a higher number of them were translated into Dutch in the first place, or if current videogame translations were improved upon in some way. Only the first part of the hypothesis turned out to be false.Show less
This thesis explores the translation of cultural references in the novel Wolf Hall by Hilary Mantel. It looks at the translation procedures used to tackle references in the Dutch translation of the...Show moreThis thesis explores the translation of cultural references in the novel Wolf Hall by Hilary Mantel. It looks at the translation procedures used to tackle references in the Dutch translation of the novel by Ine Willems, using the model by Molina & Albir (2002), and attempts to see how the translation procedures used differ from what literature suggests would be the most common procedure for a certain type of reference, differences which stem from the fact that Wolf Hall belongs to the genre of historical fiction in which cultural references are of increased importance in comparison to regular fiction, yet play a different part in the narrative than in typical texts with a high rate of cultural and historical references, such as non-fiction works of historiography. I will argue that the precise nature of the genre has its effects on the ways references can and ought to be translated, and expound on cases in the Dutch translation in which the translator has or has not used the available procedures to their best advantage in order to prove that the translation of cultural and historical references in historical fiction, as opposed to in other genres, is a different beast entirely and should be more widely recognised as an issue for translators to be aware of.Show less
