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 will discuss the differences between professional and non-professional Dutch and English texts informing the readers of the dangers of sugar and tobacco consumption. While the hazards...Show moreThis thesis will discuss the differences between professional and non-professional Dutch and English texts informing the readers of the dangers of sugar and tobacco consumption. While the hazards of smoking are widely known, the anti-sugar lobby is a fairly recent phenomenon. The thesis demonstrates how this has affected the articles written about either subject. The analyses in the first chapter reveal several differences between professional and non-professional texts as well as Dutch and English texts, especially where the use deixis and modal verbs are concerned. It pays special attention to the various persuasion strategies used by the authors, which are not only influenced by the manner in which the author is involved in the issue, but also by the audience’s culture. The second chapter indentifies and attempts to solve the various translation problems which occur on pragmatic, cultural, linguistic and text-specific levels when translating articles into the Target Language. Chapter three contains a critical analysis of the translation tool used to identify the articles’ text type: the Text Type Triangle by Dr. Chesterman, which is based on the nowadays outdated text typology developed by Katharina Reiss. Reiss’s text typology, and in extension the Triangle, was developed long before the Internet, which has a profound effect on the manner in which people communicate, became available to the average person. This chapter introduces an updated version of the Triangle, which does take the Internet as a means of communication into account. Finally the conclusion will summarise the questions answered and the data presented in the thesis and will also ask several questions which were raised by the analyses, but which could not be answered.Show less
This thesis summarises some of the research done on fansubbing. Most of this research is anime-centred. However, another genre where fansubbing has become common practice is the focus of this...Show moreThis thesis summarises some of the research done on fansubbing. Most of this research is anime-centred. However, another genre where fansubbing has become common practice is the focus of this thesis, namely Korean drama. One of the characteristics of fansubbing discussed in this thesis is that many fansubbers have appropriated a foreignizing style of subtitling, instead of domesticizing. I suspected that this was true for the fansubbers of Korean drama as well. To investigate whether this was the case, I focussed on one specific aspect of the Korean language, which is the intricate system surrounding Korean honorifics. I chose to focus my analysis on four Korean age-related honorifics, hyung, oppa, noona, and unni and I compared the translation procedures applied to these terms by both amateur and professional subtitlers. I followed Henrik Gottlieb’s method on extra-linguistic entities to classify the translation procedures found in the subtitles as either foreignizing or domesticizing. The fansubs of the first drama, Coffee Prince, contained many foreignizations, while the fansubs of the second drama, Reply 1997, contained fewer foreignizations. This difference may be the result of the increasing amount of legal online streaming sites where fansubbers subtitle Korean dramas for free or it could be coincidence. More research is needed on fansubbing as it cannot yet be said with certainty that the conclusions drawn from anime-related research apply to other genres as well.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
Song translation is one of the most difficult forms of translation (Susam-Sarajeva, 2008). In addition to the semantic code, translators have to take account of prosodic, poetic, rhythmic, and...Show moreSong translation is one of the most difficult forms of translation (Susam-Sarajeva, 2008). In addition to the semantic code, translators have to take account of prosodic, poetic, rhythmic, and audial codes, to name but a few. Di Giovanni (2008) and Chaume (2012) add to this list the visual code, which is not only prevalent in film or musical, but also in popular music (Kaindl, 2005) and other live performance music genres (Low, 2005). The combination of all these factors contribute to establish some exceedingly severe limitations for song translators. Despite that, however, it is a surprisingly well-established fact that audiovisual translation in general, and song translation in particular, are relatively new and usually ignored areas of research (Franzon, 2008; Mateo, 2008; Susam-Sarajeva, 2008; Siitonen, 2014). Susam-Sarajeva, in the introduction to her 2008 special issue of The Translator, explains that one of the reasons of this is the relative difficulty and craftsmanship that song translation requires, as song translators should not only be near-fluent in both languages, but also have an extensive knowledge of music or drama theory. Another reason is that the field is somewhat outside the borders of traditional translation studies. A third objection may be that in song translation, the borders between translation, adaptation, and rewriting are not as clear-cut as in most other forms of translation. Whatever the exact reasons, however, to date only three major collections seem to have been published on the subject: Songs and Significance, a book of collected articles edited by Gorlée (2005); the aforementioned special issue of The Translator dedicated to music (Susam-Sarajeva, 2008); and Music, Text and Translation, a text book edited by Minors (2013) with chapters by different translation scholars active in the field. This is not to say that there are no other sources, or that the field was only established in 2005 (indeed, articles on the subject have been appearing since the early 20th century [Gorlée, 2005; Kaindl, 2005]), but research has traditionally been quite sparse.Show less
This thesis explores three articles on humour in translation, which define and attempt to resolve the problems surrounding the field of humour translation studies, and applies these to a piece of...Show moreThis thesis explores three articles on humour in translation, which define and attempt to resolve the problems surrounding the field of humour translation studies, and applies these to a piece of literary writing to find out to what extent culture is relevant when translating humour. The three articles on humour translation differ in purpose to some extent; Vandaele (year) justifies the existence of the field of humour translation as being a separate entity of either humour or translation studies, whereas Attardo (year) and Zabalbeascoa (year) each give their separate solutions on how to deal with humour in translation. The knowledge offer by these three articles is then combined with the general translation strategy from Venuti (year) and applied to an excerpt from Adams’ ‘Life, the Universe and Everything Else’ (year), chosen for its humour and the degree to which it is interwoven into British culture, resulting in two opposing translations which allow for an analysis on the relevance of culture when translating humour.Show less
