The dissertation is based on data about almost 500 contemporary works of Lithuanian fiction: which of them are discussed in academic pulications; which are analysed in the students' finishing theses; which received state funding for publishing; which were awarded literary prizes; which are most often borrowed from libraries. Theoretical model defines all these factors as "acts of transmission", on which the "survival" of the work depends – whether or not it is going to be consumed and remembered in the future. The quantitative data is analysed alongside "performance protocols" - written statements about books, from online discussions and blogs to academic publications. The results indicate that the usual opposition of "popular" vs. "professionally acclaimed" is almost non-existant – the professional and non-professional readers in most cases choose the same books. However, the non-professional readers appreciate recognising what they find familiar from their experience of reality, whereas the professionals focus on comparing works of literature to each other. Finally, a third trend is recognised – it is called institutionalised taste. 48% of books funded by the state do not interest neither professional nor non-professional readers.
The dissertation is based on data about almos 500 contemporary works of Lithuanian fiction: which of them are discussed in academic pulications; which are analysed in the students' finishing theses; which received state funding for publishing; which were awarded literary prizes; which are most often borrowed from libraries. Theoretical model defines all these factors as "acts of transmission", on which the "survival" of the work depends – whether or not it is going to be consumed and remembered in the future. The quantitative data is analysed alongside "performance protocols" - written statements about books, from online discussions and blogs to academic publications. The results indicate that the usual opposition of "popular" vs. "professionally acclaimed" is almost non-existant – the professional and non-professional readers in most cases choose the same books. However, the non-professional readers appreciate recognising what they find familiar from their experience of reality, whereas the professionals focus on comparing works of literature to each other. Finally, a third trend is recognised – it is called institutionalised taste. 48% of books funded by the state do not interest neither professional nor non-professional readers
The focus of the article is Thematic Progression as a text and a genre forming phenomenon. Thematic Progression contributes to the cohesive development of any text, the distribution of given and new information of which needs to follow certain patterns. Thematic progression patterns deal with the set of meaningful sense groups which constitute a coherent text. Basic thematic progression patterns are: simple linear thematic progression, thematic progression with a continuous (constant) Theme, thematic progression with derived Themes and thematic progression with a split Rheme. They are peculiar to many languages. However, texts of different genres and the same language exhibit different patterns of Thematic Progression. This indicates that Thematic Progression, its patterns and their varieties are genre specific. To prove this, the article dwells on the Theme progression patterns and peculiar features of their Theme-Rheme organisation in texts of literary and legislative genres. While linear-constant thematic progression patterning is typical of a literary text, a legislative text is mainly based on the constant-linear thematic progression pattern. Constant-linear thematic progression patterning in the legislative text contributes to its informativeness, argumentativeness, unambiguity, and detailed specification of the given information. In comparison with the legislative text, the literary text has a variety of thematic progression patterns made of linear thematic progression, derived thematic progression and elliptical progression types. Regular linear-constant thematic progression patterning employed in the literary text helps to unfold textual information successively that contributes to its coherence and more effective perception.
The focus of the article is Thematic Progression as a text and a genre forming phenomenon. Thematic Progression contributes to the cohesive development of any text, the distribution of given and new information of which needs to follow certain patterns. Thematic progression patterns deal with the set of meaningful sense groups which constitute a coherent text. Basic thematic progression patterns are: simple linear thematic progression, thematic progression with a continuous (constant) Theme, thematic progression with derived Themes and thematic progression with a split Rheme. They are peculiar to many languages. However, texts of different genres and the same language exhibit different patterns of Thematic Progression. This indicates that Thematic Progression, its patterns and their varieties are genre specific. To prove this, the article dwells on the Theme progression patterns and peculiar features of their Theme-Rheme organisation in texts of literary and legislative genres. While linear-constant thematic progression patterning is typical of a literary text, a legislative text is mainly based on the constant-linear thematic progression pattern. Constant-linear thematic progression patterning in the legislative text contributes to its informativeness, argumentativeness, unambiguity, and detailed specification of the given information. In comparison with the legislative text, the literary text has a variety of thematic progression patterns made of linear thematic progression, derived thematic progression and elliptical progression types. Regular linear-constant thematic progression patterning employed in the literary text helps to unfold textual information successively that contributes to its coherence and more effective perception.
The focus of the article is Thematic Progression as a text and a genre forming phenomenon. Thematic Progression contributes to the cohesive development of any text, the distribution of given and new information of which needs to follow certain patterns. Thematic progression patterns deal with the set of meaningful sense groups which constitute a coherent text. Basic thematic progression patterns are: simple linear thematic progression, thematic progression with a continuous (constant) Theme, thematic progression with derived Themes and thematic progression with a split Rheme. They are peculiar to many languages. However, texts of different genres and the same language exhibit different patterns of Thematic Progression. This indicates that Thematic Progression, its patterns and their varieties are genre specific. To prove this, the article dwells on the Theme progression patterns and peculiar features of their Theme-Rheme organisation in texts of literary and legislative genres. While linear-constant thematic progression patterning is typical of a literary text, a legislative text is mainly based on the constant-linear thematic progression pattern. Constant-linear thematic progression patterning in the legislative text contributes to its informativeness, argumentativeness, unambiguity, and detailed specification of the given information. In comparison with the legislative text, the literary text has a variety of thematic progression patterns made of linear thematic progression, derived thematic progression and elliptical progression types. Regular linear-constant thematic progression patterning employed in the literary text helps to unfold textual information successively that contributes to its coherence and more effective perception.
Gabriel García Márquez, in an interview with Plinio Apuleyo, described Cien Años de Soledad as a "poetical synthesis of the tropic", which he accomplished by putting together "a few scattered elements, but united by a very subtle and real subjective coherence" (Apuleyo Mendoza, 1993, p. 17). Considering this idea, we could identify the two most important elements for the writer when conceiving the novel: first, the specific poetical language, which we could name as "style", and second, that coherent subjective reality, which is reached, together with stylistic features, with elements of his local reality, some of which are referred to in this research as Realia. The poetical style of the novel is characterized by, among other stylistic features, the frequent use of a regional and familiar register, which contribute to build up its specific tone and atmosphere. The Realia refer to and describe a local reality at the same time that they participate in the configuration of the narrative world. Both elements, being language and culture specific respectively, could be problematic in a process of translation. Given the importance of these language features in the composition of the novel, the question about their interlingual transfer results relevant for the reception and interpretation of the novel in translation. How did translators achieve the transfer of such strong contextual-dependent elements? Could the readers of those translations experience the effect of nostalgia, familiarity and even intimacy as many of the Spanish version readers claim to feel each time they read the novel? My objective with this dissertation is to analyze stylistic issues and Realia used by Gabriel García Márquez in Cien Años de Soledad (1967) and their translation into French (1968) and English (1970). This analysis aims to determine the effect spectrum of the translation formulations in the recreation of the novel in both target languages (TLs). It is important to mention that even if this analysis is developed within some relevant issues of translation studies, its purpose is not to extensively discuss abstract translation theories. Additionally, being the focus linguistic constructions that could be problematic in a process of translation between the ST and the selected TTs, the selection of Realia and Style features follows this aim, leaving outside the analysis many other narrative elements of GGM's fictional universe. Moreover, the analysis of style features is a mere observation and a hypothesis about the translations. I do not pretend to reduce the universe of style mechanisms used in the novel to the selected categories and annotations that I made in this thesis. These discussions, which exceed the borders of our proposal, are potential material for further research. How do we plan to achieve the objectives of our research? In a first moment, with a theoretical exploration of the key discussions and problematics about literary translation and about this specific novel. Later on, with the selection of examples of both Realia and Style features and their subsequent analysis as textual units using a comparative-descriptive model. And, additionally, by considering as causal conditions - following the causal model - the shifts, contrasts and modifications carried out by the formulations in both target texts as well as extra textual issues affecting the way the translators decided on these formulations. With the results of the comparative and causal analysis in hand, we are able to arrive at a characterization of the effect spectrum of the translation formulations in both translated texts.:CHAPTER I-Introduction CHAPTER II- The original is unfaithful to the translation: a theoretical approach on literary translation issues 1.Literary translation: a cultural and linguistic transfer 1.1. Issues of literary translation 1.1.1. Sense Vs. form or "les belles infidèles" 1.1.2. Source or target language orientation 1.1.3. Equivalence, adaptation, approximation 1.1.4. Untranslatability 1.2. Cultural- oriented approaches 1.2.1. Rewriting and manipulation 1.2.2. The restitution of meaning 1.2.3. Skopos or functional theory 1.2.4. The translator's invisibility 1.2.5. Integrated approach on translation: linguistics, literature and culture 2. Narrative register in translation 2.1. Referential level: Realia 2.2. Textual level: Style 3. The literary translator: individuality and style 4. Cultural translation 4.1. Cultural translation: an overview 4.2. Cultural translation and interlingual translation 4.3. Cultural translation and the translation of Realia and style CHAPTER III- Hasta las cosas tangibles eran irreales: on magical realism and Cien Años de Soledad 1. Magical realism: The background of a term 2. Subverting the real: Magical realism and its neighboring genres 3. Magical realism's style in Cien Años de Soledad 3.1. Local color and sense of absurdity 3.2. The 'brick tone' 4. Historical, social and literary contextualization of Cien Años de Soledad and its translations 4.1. The writer 4.2. The novel 4.2.1. Social, political and literary panorama during the sixties 4.2.2. The plot 4.2.3. Literary construction 4.2.4. Political dimension of CAS: between reality and realism 4.3. The translations: why focusing on the English and French version? 4.3.1. The English translation: socio-cultural context of TC1 and description of TT1 4.3.2. The French translation: socio-cultural context of TC2 and description of TT2 CHAPTER IV- Macondo era entonces una aldea de veinte casas de barro y cañabrava: Realia and the foundation of the fictional world 1. The definition of Realia 2. Categorization of Realia in the novel 3. Descriptive analysis: Realia in ST and in TTs 3.1. Natural environment: vegetation 3.2. Natural environment: animals 3.3. Natural environment: geography 3.4. Social interactions: social practices 3.5. Social interaction: oral traditions 3.6. Social interactions: Forms of address 3.7. Social interactions: Politics 3.8. Material heritage: Food 3.9. Material heritage: Tools 3.10. Material heritage: Constructions 3.11. Material heritage: Ritual objects 4. Formulation techniques for translating Realia in TTs 4.1. Formulation techniques 4.1.1. Elimination 4.1.2. Adapted formulation 4.1.3. General formulation 4.1.4. Descriptive formulation 4.1.5. Denotative formulation 4.1.6. Loan formulation 4.1.7. Inferred formulation 4.1.8. Textual functional formulation 4.1.9. Borrowing formulation 4.1.10. Combinations 4.1.11. Frequency of use 4.2. Orientation 4.3. Interferences 4.3.1. Literary interferences 4.3.2. Socio-Linguistic interferences 4.3.3. Semantic interferences 4.3.4. External interferences CHAPTER V- Las claves definitivas de Melquíades: Style and the fuzziness of reality 1. Hyperbolization- Outsized reality 1.1. Adjectivisation 1.2. Natural metaphors 1.3. Fixed locutions and statements 2. Orality effect- radio bemba 2.1. Swear words 2.2. Euphemisms 2.3. Irony 2.4. Colloquial lexical choices 2.5. Neologisms 3. Summary CHAPTER VI- Macondo era ya un pavoroso remolino de polvo y escombros : The effect spectrum of translation in the novel Cien Años de Soledad 1.Gregory Rabassa's translation: fluent, standard, exoticizing 1.1. Formulation techniques and orientation in local unities 1.2. Influences, restrictions and priorities in Rabassa's translation of Cien Años de Soledad 1.2.1. Influences: between the actual and the implied translator 1.2.2. Textual and extra textual restrictions 1.2.3. Rabassa's translation decisions priorities 1.3. The effect spectrum of Rabassa's translation 1.3.1. Fluency 1.3.2. Standard register 1.3.3. Exoticization: the foreign as magical 2. Claude and Carmen Durand's translation: colloquial, foreignizing, functional 2.1. Formulation techniques and orientations in local units 2.2.Influences,restrictions and priorities in Durand's translation 2.2.1. Influences: between the actual and the implied translator 2.2.2. Textual and extra textual restrictions 2.2.3. Priorities for the translation decisions 2.3. The effect spectrum of Durand's translation 2.3.1. Colloquial register 2.3.2. Foreignising 2.3.3. Functional 3. Summary CHAPTER VII- Ya nadie podia saber a ciencia cierta dónde estaban los límites de la realidad: Final considerations 1. The borders of reality: magic and realism 2. Domestication, foreignization, exoticization 3. The translator's voice in literary criticism 4. Summary and outlook BIBLIOGRAPHY
Manuel Theophil ; Abstract aus der Konferenz "Language.Literature.Politics. 1918–2018. (Un)doing Nationalism and Resistance", 20.-22.09.2018, Alpen-Adria-Universität Klagenfurt
Throughout the twentieth century, as literary texts circulated through high-school and college classrooms, reading became a specialized skill. Especially with the dominance of the "new criticism" in the 1930s, literature acquired an autonomous life as "text," demanding intensive "close reading" of its verbal complexity and formal coherence as an aesthetic object. Beginning in the 1970s, with the proliferation of programs devoted to African-American culture, gender studies, sexuality studies, and ethnic studies programs, the literary canon became more diverse. In the mid-1980s new historicism helped push aesthetic formalism further from the agenda of literary education in the university, promoting new interest in historical contexts even as psychoanalytic, deconstructive, and reader-response approaches continued to fetishize "textuality" as their primary object of inquiry. Whatever the vagaries of theory, method, and subdisciplinary turf battles through which scholars have wandered over the last few decades, we have remained in our professional practices of reading and teaching committed to a hermeneutics of interpretation. Even as scholars developed arguments about history or culture, the teaching and criticism of literature has continued to rely on the institutional and psychological isolation of reading, as an individual exercise in mastery of the text fostered by silence and solitude.
