Suchergebnisse

ABSTRACT "Recovering Jelinek for the English-Speaking Stage – Problems of Inter-Cultural Transfer in Elfriede Jelinek's Plays and Theatrical Strategies to Fill the 'Gap of Translation'" is a research project in the field of Theatre Performance. The thesis consists of three parts. Parts I and III are a written dissertation. Part II is a production of Elfriede Jelinek's Princess Dramas: "Snow White", "Sleeping Beauty" and "Jackie" (Part II). The production took place at Red Stitch Actors Theatre in Melbourne (8 June – 2 July 2011). Footage of the production is available on two DVDs that are included in the thesis. The research project aims to understand the reasons behind the near absence of the Austrian Nobel Prize (2004) winner's plays on English-speaking stages and adopts a 'poetics of an arriving artist' as theoretical foundation for the first staging of one of Jelinek's works in Australia. The written dissertation of the project touches on issues of literary theory, inter-, multi- and transculturality and post-colonial studies, translation studies and performance theory. The thesis relies on the metaphor of the palimpsest as a hinge between its diverse parts. It uses the notion of 'palimpsesting' in order to describe a core strategy for meaning making and exploits 'the palimpsest' as a figure of thought for elaborating a series of productive theatrical strategies. The proposal of cultural bridging strategies and their realisation within the context of staging Princess Dramas in Melbourne (Australia) is one important focus of this project. It concerns mainly the area of aesthetics and artistic poetics. In addition, the project has a strong ethical and political focus. It scrutinises the ethical dangers implied in the post-structuralist foundations of its poetics and discusses the dilemma of unbound (ethical) freedom that can turn into boundless (physical) violence. It examines various scenarios where strategies of empowerment can lead to effects of disempowerment and links this discussion to the problematic essentialisms of current Australian discourses of indigeneity. Discussing the image and/or function of the artist in modernity against the background of a range of theories such as the German Romantic concept of 'Bildung', Niklas Luhmann's concept of art as a social system and several legal and political theories such as Jeremy Waldron's study on Law and Disagreement, the thesis comes up with a series of strategies that aim to ensure responsible artistic action within the parameters of a liberal democracy. Part I (Before the Staging) is dedicated to "The Aesthetics (or Poetics) of Staging a Play". It is the shorter part of the written dissertation and consists of four condensed chapters. They introduce the situation of the near absence of Elfriede Jelinek's plays on English-speaking stages and establish the idea of homesickness as a productive motor for cultural transfer. They introduce Elfriede Jelinek's complex writing strategies and name the deconstructive and mythoclast agenda behind Jelinek's work as one of the main motivations for my staging of Princess Dramas in Australia. The re-thinking of the structuralist version of the 'palimpsest' (Gérard Genette) against the background of post-structuralist theories (mainly Roland Barthes and Julia Kristeva) takes an important share of this part which also connects the theoretical discussion to some episodes of my arrival in Australia as theatre maker and researcher. The last chapter explores the productivity of terms such as 'palimpsesting', 'palimpsestic' and 'palimpsestuous' for the requirements of staging theatre plays. It proposes a dramaturgy of palimpsestic approximation in order to deal with Jelinek's overly dense work and invites to scrutinize the foundations and borderlines of national-cultural categories. Casting an Indigenous actress in the part of Jackie is suggested as a strategy of naturalising Jelinek as a meaningful Austr(al)ian author. Part II (The Production) consists of the production of Elfriede Jelinek's Princess Dramas: "Snow White", "Sleeping Beauty" and "Jackie" at Red Stitch Actors Theatre in Melbourne. The thesis comprises two DVDs that provide footage of the production. DVD 1 presents a full run of the production and DVD 2 offers additional material. The material consists of twelve extract clips that are mostly shot from a closer angle than the full shot angle of DVD 1. Part III (After the Staging) is dedicated to "The Ethics (and Politics) of Staging a Play". It presents the major share of the written dissertation and is divided into three subdivisions. Subdivision I ("Staging Jelinek's Princess Dramas in Australia – Dangerous Decisions and Multiple Circumstances") deals with a range of aspects linked to the ethics of staging Princess Dramas in Australia. The six chapters touch on issues of decision-making and artistic responsibility versus post-structural aesthetics, discuss different concepts of 'mise-en-scène'/'staging'/'Inszenierung' and 'violence' as part of the circumstance(s) of staging a play, and relate these discussions to cultural policy debates in Australia. John L. Austin's notion of 'appropriate circumstances' of an utterance is introduced and Janelle Reinelt's recent demand for embracing a new artistic responsibility in an increasingly globalising world is considered an important theoretical framework of this part of the thesis. Key issues are the relationship between theatre and 'radical democracy', (self-)censorship and 'political correctness'. The theoretical discussion is linked to our/my decisions made during the process of staging Princess Dramas in Australia and to the choice of casting an Indigenous actress for the role of Jackie. Important issues of agency, ethical responsibility and guilt are revised by comparing different conceptions of artistic processes and aesthetic products in the realm of theatre in both languages, English and German. In a similar manner, the cultural relativity of concepts of violence and a loose typology of different kinds of violence is discussed by putting a particular focus on the notion of 'structural violence' and 'violence of categories' (Maryrose Casey after Emmanuel Levinas). The last chapter of this subdivision deals with questions of art and aesthetics with regard to the material needs and/or financial dependencies of art producers and discusses concepts of 'inter-, multi- and transculturality'. Subdivision II ("'The Artist' As (Civilising) Leader or (Moral) Outlaw – My Self-Image As Theatre Maker at the Intersection of Philosophy, Law and Politics") discusses the function of the artist in society and related questions of artistic licence against the background of legal and political theories. It links the theoretical discussion to the concrete case of staging Princess Dramas in Australia. The two chapters touch on issues of artistic relevance and the social authority of artists, censorship, the concept of 'Bildung' (Franz-Josef Deiters after Friedrich Schlegel et al.), the notion of art as a social system (Niklas Luhmann) and a series of intersections between art practice and legal/political systems (Jeremy Waldron, J.M. Balkin, Sanford Levinson and others). Subdivision III ("A Conclusion and an Afterthought – Arriving as Palimpsestuous Process, Or Accepting the Artist as Phenomenon and Signifier") offers a general conclusion about the artists' rights and obligations which is based on the artists' proposed function in a liberal democracy. It also spells out the consequences that this position has for our/my staging of Princess Dramas in Australia. The ethics of artistic practice is linked to an unavoidable decision in favour of one possible belief system – in my case, liberal democracy. Being conscious of the aporias of liberal democracy, in the afterthought I formulate a challenging question that must guide the entire project: How can I act in this country that I like for its easy-going (or reckless?) celebrations of 'beach, chardonnay and sun' without pushing you, the Other (the Indigenous) – who obviously only exists as a hollow conceptual carcass – ever more to its borders? It is suggested that withstanding the contradictions between (rich) phenomena and (necessary) concepts by raising, again and again, the question of the fine line between German and non-German (or Austrian), Australian and non-Australian, and Indigenous and non-Indigenous as a first step in my quest of and for arriving in Australia be an apposite strategy to avoid an endless repetition of the 'First Step' (or arrival of the First Fleet) and its concomitant ideology of terra nullius.

The article attempts to show that the modern notion of 'religion' is a construction that emerged in the context of inter-religious encounters following the fall of Constantinople and especially in the years around the Reformation. Hereby, the article argues that the modern notion of 'religion' emerged earlier than found by most previous studies, and that it was used in the legislation of the new Protestant states as well as in the modern (Westphalian) state-system, both of which it has been a part of ever since. The notion of 'religion' is, thus, not a scholarly invention (J.Z. Smith) or tied to colonialism (Timothy Fitzgerald) but rather a product of complex historical processes in which religious conflicts and the attempt to overcome these played a key role.

Puja Tri Sandhya is Hindus prayer known in all countries. The original prayer came in Sanskrit language, but every Hindus believer already translate the prayer into their native language. In 1950, Balinese Hindus used Puja Tri Sandhya to get the recognition from the government allowing Parisada Hindu Dharma Indonesia (PHDI)—the major reform movement and Hindus organization in Indonesia—to translate Puja Tri Sandhya into Indonesian. This translation aimed to make every Hindus believer in Indonesia knows about the meaning of the mantras. Besides Indonesian, Puja Tri Sandhya is also translated into the universal language that 20 percent of the world spoke, English. English is believed to give the best medium to other people who want to learn more about Hindus or simply just curious. As a reminder, in this paper Indonesian will be the source language (SL) and English will be the result of the translation so we shall call it target language (TL). In translation, equivalency will be the point to show if the translation is well translated or not. In their book The Theory and Practice of Translation (1959), Nida and Taber state two kinds of equivalency that the translator can use as their reference they are: formal and dynamic equivalence. Here, Puja Tri Sandhya in Indonesian and English versions will be analyzed using 2 kinds of equivalences by Nida and Taber.

Abstract
The paper aims to clarify the distinction of intension and concept between translation semiotics and semiosic translation to determine their disciplinary classification as well as the theoretical framework of translation semiotics. Translation semiotics is a relatively young interdisciplinary field connecting specifically semiotics and translation studies. In essence, it is a branch of semiotics where the research object is the semiotic transformations and sign activities involved in the translational semiosic and interpretive process. Semiosic translation attaches itself conceptually to an extended notion of semiosis involving the transformation of any sign system into other sign systems and pertains to the illustration and analysis of translational phenomena from the perspective of semiotics. Translation semiotics focuses on semiotic transformations and constructs a semiotic theory and application model based on the dimension of semiotic transformation. Both translation semiotics and semiosic translation take semiotic transformations as their research object. Notwithstanding, semiosic translation puts particular emphasis on semiosis, whereas translation semiotics explores the phenomena of semiotic transformations and related problems involved in the process of translation grounded on semiotic theories and methodology (Jia 2016a: 96). As such, translation semiotics and semiosic translation are under the jurisdiction of different disciplines.

Abstract
The effect of new technologies has reached translation as any other field of knowledge and renovated the practice, research and theory in translation. This simply suggests the need to revisit translation theories and adopt theories from other disciplines where relevant. The current paper is an attempt to inter-subjectively adopt the mathematical game theory into translation. In addition, it is not only a call to probe into the understanding of texts by adopting semiotic texts represented in political cartoons but also to go deeper with translators by making them work together in a crowdsourcing context within an online platform governed by the rules of the adopted theory to practice other processes such as revision as a basic phase in translation. Empirically, the results proved that the adopted theory matches, to a good extent, the situation of Crowdsourcing, which gives better results concerning the translation process.

Das trifunktionale Charakteristikum der SpitaldolmetscherIn, nämlich als Sprachmittlerin, Kulturmittlerin und Situationsmittlerin, ist ein Unikat im Community Interpreting. Das Dolmetschen im Krankenhaus zeichnet sich durch zwei Kriterien aus; das Kriterium der Anpassung an den Wissengrad des Individuums und das Kriterium der Sicherstellung des tatsächlichen Verstehens. Die sprachliche Wiedergabe im Krankenhaus orientiert sich am Krankheitsverständnis sowie Bildungsniveau eines jeden Patienten und somit ist diese einzigartig. Die primären Aktanten einer Dolmetschsituation im Krankenhaus haben ein gemeinsames Ziel, im Gegensatz zur Dolmetschsituation bei Gericht oder beim Asylamt, wo die primären Gesprächspartner unterschiedliche bzw. mitunter konträre Ziele verfolgen. Es kommt zu einer Verschiebung bzw. Aufhebung bei gleichzeitiger Einhaltung bestimmter Dolmetschnormen. Dies geschieht aber nur in beiderseitigem Interesse der Aktanten und mit ihrem Einverständnis. Die SpitaldolmetscherIn darf sich in den Dialog der Aktanten nur einmischen, um Missverständnisse zu klären. Die Dolmetschtätigkeit im Krankenhaus erfordert neben der mündlichen Wiedergabe von Gesprächen häufig eine schriftliche bzw. eine intersemiotische Translation, insbesondere im Falle der Erstellung von Medikamententabellen oder Zubereitungsrezepten von Kindernahrung und Ähnlichem. Um ihre Unparteilichkeit so weit wie möglich zu wahren, ihr aber dennoch einen breiten Spielraum zu geben, wäre ein Setting geeignet, das dem einer Roundtable-Stellung gleicht. Eine solche Positionierung ist flexibel, die Beteiligten rotieren um einen virtuellen runden Tisch, wobei sich die DolmetscherIn meistens zwischen Arzt und PatientIn befindet bzw. nicht lange Zeit neben einem der beiden Parteien Stellung bezieht. ; The hospital interpreter is authorized by both participants of the interaction to walk them through the situation. Both participants of the interaction rely on him/her. He/she manages the setting by putting up a virtual round-table, trying to keep the distance between him/her and the participants constant. Within the field of community interpreting, hospital interpreting is special in two ways: the hospital interpreter adjusts to the patient?s level of knowledge and ensures his/her understanding of the explanations. In hospital interpreting the primary participants have the same objectives. Hospital interpreting thus differs from other types of community interpreting such as legal interpreting or interpreting in the political asylum application process where the actors sometimes pursue different, occasionally even contrary goals. Hospital interpreting is not only restricted to oral communication but frequently also involves written and inter-semiotic translation. Medical instructions sometimes have to be transmitted orally and in a written form, especially in the case of medication or diet sheets. For such instructions a multiple medium consisting of oral explanation, written text and symbolic visualization is frequently employed. Although hospital interpreting is special in certain respects, the primary role of the interpreter should always be that of a translator, not of a social worker, as is frequently the case. Nevertheless, the hospital interpreter is often obliged to assume other roles and accomplish additional tasks. But he/she is only entitled to do so, if his/her actions are in the mutual interest of both participants and after their permission. He/she only interferes with the conversation in order to clarify misunderstandings. His/her physical position is not stable. To guarantee her impartiality and at the same time give her more freedom of action, a virtual round-table setting is the ideal solution. ; vorgelegt von Salah Algader ; Abweichender Titel laut Übersetzung der Verfasserin/des Verfassers ; Text dt., teiwl. engl. - Zsfassung in dt. und engl. ; Graz, Univ., Masterarb., 2010 ; (VLID)246313

Abstract
Translation semiotics studies the transformation of signs in translation, which generally involves semiosis, sign behavior, sign relations, semiotic hierarchy, intersemiosis, semiotic function, and semiotic conservation. This paper attempts to explore, from these seven dimensions, the disciplinary essence of TS and foresees the development of this burgeoning discipline as a branch of semiotics.

AbstractIf translation is an act of meaning transaction, semiotics should be able to define its specificity in relation to other semiotic acts. Instead, following upon suggestions by Roman Jakobson, the Tartu school, and, more implicitly, Charles Sanders Peirce, the notion of translation has been generalized to cover more or less everything that can be done within and between semiotic resources. In this paper, we start out from a definition of communication elaborated by the author in an earlier text, characterizing translation as a double act of meaning. This characterization takes into account the instances of sending and receiving of both acts involved: the first one at the level of cognition and the second one at the level of communication. Given this definition, we show that Jakobson's "intralinguistic translation" is, in a sense, the opposite of translation and that his "intersemiotic translation" has important differences and well as similarities to real translation. We also suggest that "cultural translation" has very little to do with translation proper except, in some cases, at the end of its operation. Peirce's idea of exchanging signs for other signs is better understood as a characterization of tradition.

Fundamental importance of language and translation -- Theology and politics of missionary linguistics -- Conversion in language and semiotic ideologies -- Sociocultural and political ideologies -- The politics of translating Christian moral philosophy -- Moral philosophy of translated christology -- Conceptualization of missionary linguistic scriptural translations

Part 1: Sensing Emotions between the Other and the Same 1. Emotions from Identity to Alterity and their Possible Translation 2.The Translator and the Pea: On Emotions and Objects in Translation 3. Translating the Rhythm of Emotions 4. Translating Emotions: Articulating Affect Part 2: Negotiating Emotions and Human Rights 5. Migration, Materiality and Structures of Feeling 6. Translating the Meaning-intention behind the Best Interests of the Child Principle in the Convention on the Rights of the Child 7. Law and the Aboriginal Girl: Gender, Genre and Violence 8. Algorithmic Translation and Emotional Outrage: A Semiotic Analysis Part 3: Translating Emotions in the Workplace, Urban Spaces, and Games 9. Regulating Interpersonal Emotions in the (Translation) Workplace 10. Rituals and Games in Translation. The Chiastic Relation of Duty and Delight 11. Sensing the City. Affective Semiosis and Urban Border-Zones 12. Emotions through Touristic Discourses. Mediation and Rendition of an Urban Experience 13. From Bricks to Pixels Part 4: Depicting Emotions in Literature 14. Aboriginal Emotions: Translating Oodgeroo Noonuccal's 15. Translating China. A Semiotic Reading of Linda Jaivin s The Empress Lover Part 5: Performing Emotions in Film and Music 16. Hugo s Les Misérables from Book to Film to more Film: Translating Emotions in Media and Language 17. Fear, Terror, Horror in Sleepy Hollow: A Semiotic Reading of Climaxing Passions 18. From Hanif Kureishi to David Bowie: Voice, Emotion and Experimentalism in Bowie s soundtrack for The Buddha of Suburbia 19. Music Speaks: the Role of Emotional Expression in Music for Sci-fi Fantasy Films

AbstractPrevious semiotic research classified human signs into linguistic signs and non-linguistic signs, with reference to human language and the writing system as the core members of the sign family. However, this classification cannot cover all the types of translation in the broad sense in terms of sign transformation activities. Therefore, it is necessary to reclassify the signs that make meaning into tangible signs and intangible signs based on the medium of the signs. Whereas tangible signs are attached to the outer medium of the physical world, intangible signs are attached to the inner medium of the human cerebral nervous system. The three types of transformation, which are namely from tangible signs into tangible signs, from tangible signs into intangible signs, and from intangible signs into tangible signs, lay a solid foundation for the categorization of sign activities in translation semiotics. Such a reclassification of signs can not only enrich semiotic theories of sign types, human communication, and sign-text interpretation, but also inspire new research on translation types, the translation process, translators' thinking systems and psychology, and the mechanism of machine translation.

As performative and political acts, translation, intervention and participation are movements that take place across, along and between borders. Such movements traverse geographic boundaries, affect social distinctions, and challenge conceptual categorizations - while shifting and transforming lines of separation themselves. This book brings together choreographers, movement practitioners and theorists from various fields and disciplines to reflect upon such dynamics of difference. From their individual cultural backgrounds, they ask how these movements affect related fields such as corporeality, perception, (self-)representation, and expression.