Are there a difference between the translations made for subtitling and dubbing, and if so, what is the result of these differences? This thesis contains an overview of theory on subtitling,...Show moreAre there a difference between the translations made for subtitling and dubbing, and if so, what is the result of these differences? This thesis contains an overview of theory on subtitling, dubbing, and wordplay, and applies this in a case study on the audiovisual translations of wordplay in Disney films in order to determine which translation form shows more retention of wordplay and humour.Show less
This MA thesis consists of an annotated translation of the short story “How I Found America,” written by the Jewish American author Anzia Yezierska (1881?–1970). The story was published in her...Show moreThis MA thesis consists of an annotated translation of the short story “How I Found America,” written by the Jewish American author Anzia Yezierska (1881?–1970). The story was published in her first collection of short stories, Hungry Hearts (1920). Yezierska’s work, which is not well known and has never been translated into Dutch, offers an inside into the lives of Jewish immigrants at the start of twentieth century. Within the framework of a three-act structure, "How I Found America" tells the story of a young Russian-Jewish woman who immigrates with her family to America, the Golden Land. She quickly becomes disillusioned by her surroundings. Depressed, she goes in search for the true nature of America. After long years of hard struggle, the narrator finally finds her answer that she is the one who creates America: “We go forth all to seek America. And in the seeking we create her. In the quality of our search shall be the nature of the America that we create” (Frank qtd. in Yezierska, 1920). The translation of Yezierska’s short story is accompanied by a discussion of the work of the French translator, theorist and philosopher, Antoine Berman (1992-1991) and features an analysis of his translation model in the form of a retrospective review of the translation of Yezierska’s text.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
The main aim of this thesis was to establish whether strong reactions such as ‘Oskar would never say that!’ and ‘That’s just plain wrong!’ to the official Dutch translation of the novel Extremely...Show moreThe main aim of this thesis was to establish whether strong reactions such as ‘Oskar would never say that!’ and ‘That’s just plain wrong!’ to the official Dutch translation of the novel Extremely Loud & Incredibly Close (Foer, 2005) could be caused by a loss of style in the translation. In order to measure the retention of style in the translation, a translation quality assessment tool that focusses solely on style was needed. However, such a tool did not exist. Instead it was opted to adapt a translation method that prioritises style. Such a method was found in Bovelander’s 2015 style-centred translation approach. The Bovelander method includes a thorough stylistic analysis followed by the selection of translation procedures that should be used to retain style (a greenlist) as well as a listing of procedures that should be avoided because they would cause a loss of style (a blacklist). These procedures are pivotal in the adapted Bovelander method: a comparative reading of the source text and target text that reveals which procedures were used during the translation process. If blacklisted procedures occur considerably more often than greenlisted procedures, then there is a loss of style. The adapted Bovelander method suggested a severe loss of style in the Dutch translation of Extremely Loud & Incredibly Close (Foer, 2005), which might indeed explain the strong reactions to the translation voiced by a number of translation students.Show less
Literary translation is a separate field within translation studies demanding its own approaches. This argument is supported in Part I by an assessment of the "Hermeneutical approach" to...Show moreLiterary translation is a separate field within translation studies demanding its own approaches. This argument is supported in Part I by an assessment of the "Hermeneutical approach" to Translation Studies, as represented in the thought of Jakobson, Benjamin, Derrida, Ricoeur, Jiri Levy, and George Steiner, which offers a strong foundation. Their thinking falls together in considering translation and interpretation to be full equivalents, entailing never-ending processes; in appreciating the holistic quality of the literary work of art and translation's relationship to it, as well as translation's role in the Nachleben of the work of literature; and in demanding creative language use and linguistic hospitality as part of the translator's labor. Part II of the thesis places the tasks of the literary translator as editor/redactor, particularly in consideration of the use of paratexts, on this foundation as one way of limiting hermeneutical activity. The translator redactor must act as a book compiler, a scholar-annotator, and an analyst commentator, or at least consider these roles. In this way, the thesis unites theory and practice while promoting the positive utility of hermeneutics for translation and yet setting limits for the translator's interventions, particularly in helping the reader's own process of interpretation by providing paratextual guides and aids.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
This thesis aims to compile a collection of descriptive guidelines for the translation of ideological syntactic structures in texts from English to Dutch. The notion that there "is not (...) any...Show moreThis thesis aims to compile a collection of descriptive guidelines for the translation of ideological syntactic structures in texts from English to Dutch. The notion that there "is not (...) any possibility that any discourse is free of ideas, and thus of ideology" (Jeffries 8) has prompted the ambition to choose texts that demonstrate the subtle powers of English and Dutch. These hidden forces are manifested in conscious or unconscious linguistic choices which lead to implicit ideological conveyance. There are numerous studies on ideology in texts, and many cultural or socio-political linguistic, or purely linguistic models of analysis have been developed over the past decades. However, little research has been done on the actual translation of implicit ideology in texts and its potential, yet concealed, manipulation of the reader. On the basis of Jeffries’ Critical Stylistics model a set of linguistic tools will be applied on a corpus of English op-ed articles and analysed to identify their ideological influence on the text, only including socio-political or contextual analysis to a small extent. This largely linguistic approach enables subsequent analysis of the techniques that have been used to translate the ideological structures in these articles. By means of Vinay and Darbelnet's model of direct and oblique translation (Munday 86), and the translation procedures they comprise, this thesis ultimately intends to serve as a stimulus to set guidelines for the translation of ideological syntactic structures from English to Dutch.Show less
Since the anime boom of the 1990s and 2000s, the popularity of anime (Japanese animation) in the Western world has increased tremendously. Even though Western localization companies used to view...Show moreSince the anime boom of the 1990s and 2000s, the popularity of anime (Japanese animation) in the Western world has increased tremendously. Even though Western localization companies used to view anime as ‘just another form of Saturday morning children’s cartoons’ at first, as popularity increased, they came to the realization that it is a wholly different genre and business entirely. And as fans started demanding localizations that stayed as true as possible to the original versions, localization companies started paying closer attention to the way they translated these shows. But just how much does the audience influence the localization of anime? This research attempts to shed some light on that matter by comparing three anime series aimed at different audiences and looking at the different approaches localization companies have when tackling these shows.Show less
