Sproule, Kent Arthur (1995) Criteria for the effective translation of spoken discourse

250 Pages·2009·13.35 MB·English

Sproule, Kent Arthur (1995) Criteria for the effective translation of
spoken discourse: the evidence from selected modern Spanish texts. PhD
thesis.

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KENT ARTHUR SPROULE
FOR THE EFFECTIVE
"CRITERIA
OF SPOKEN
TRANSLATION
THE EVIDENCE
DISCOURSE:
SELECTED MODERN
FROM
SPANISH TEXTS"
Thesis to the Department Hispanic Studies (Faculty Arts)
submitted of of of
the University Glasgow, for the Degree Doctor Philosophy
of of of
Auguit 1995
0 Kent Arthur Sproule 1995
Abstract
The this thesis is the formulation
objective of of a set of
bench for those
guidelines, criteria, which will serve as a mark
to the translation discourse.
who wish attempt of non-oral spoken
This be by the three Spanish
will achieved examination of modern
texts their translated in English.
and equivalents
in
The Introduction the to
sets study context and attempts study
the translation in before to
notion of a general context moving on a
the translation discourse, the
closer examination of of spoken and
this form language Chapter 2
problems which of engenders.
the El Jarama its translation in the light
examines novel and of a
the translation theories Peter
wide range of published of
Newmark, to these in to
and attempts apply systematically, order
the these theories.
evaluate effectiveness, or otherwise, of
Chapter 3 Tiempo de its English language
examines silenci-Q and
to the forms discourse
version, paying particular attention of
in the internal the
employed original, notably monologue, and way
that these formats the impact the Spanish text, before
affect of
to how these issues have been dealt in
moving on examine with
Other be
translation. to the
elements which may of relevance
layout
translator, their
such as and symbolism, and effect on
discourse, investigated. Chapter 4 deals
spoken are with a play,
Las boca its translation for the This
cartas abajo, and radio. study
looks the this in the
at problems associated with medium context
discourse,
of spoken as well as examining a number of problems
the text, including
associated with culture and expansion.
The to the in
conclusion attempts set all points raised context and
the drawing definitive list for
address problem of up a of criteria
the translation discourse.
effective of spoken
2
X F-) K-) K-) F-) "ZIRoQo('R*Q"bQ
I like to the invaluable help
should acknowledge and assistance of
have the
a number of people who aided me over many years
it took to this thesis. I like to thank Professor
write would
which
Nicholas Round, The University Sheffield,
now of of who guided
helped find direction,
me and me my and constantly supplied me
ideas food for thought during the the thesis, I
with and writing of
like to the
would also gratefully acknowledge assistance of
Professor D. Gareth Walters, the University Glasgow
of of who
final
kindly to
agreed supervise my year.
Having times the joys PC I
wrestled many and oft with of software,
like to thank Graham Tuxford for his
advice and
would
despair.
in
suggestions moments of crisis and
Finally, I like to thank Alan Barclay for his
would encouragement
for being there, family for their love
and my and support
and
the long brother Ramsay,
throughout many years of study: my and
my mother.
ru
r-) ri X ri ' b>Z, 152, T2 ' Z2 %(, 2
lý
3
................................................ . ... . ..................................................................
This thesis,
the
and all work which!
:
is dedicated,
'it
signifies,
with much!
love, to Joyce, for
my mother,
all!
.
the love,
support
and:
has::
encouragement which
she
:
the
me over years:
without!
igiven
it
have
Iyou been:
would not
1
possible.
... . ..............................................................
. .................................................................
4
Table
of contents
1. INTRODUCTION
7
.................................. *090*0
1.1 TRANsLA-noN:
SOME CONSIDERATIONS 7
........................................................
1.2 THE
TASK OF THE TRANSLATOR
lo
............................. o ......................................................................
1.3 NoN-oRAL
SPOKEN DISCOURSE
20
....................................................................................................
1.4 TRANSLATION TiiEoRy & NEWMARK
26
................................................................
o .........................
1.5 AimS
AND OBJECTIVES OF THIS THESIS 30
.........................................................
o ................................
2. EL JARAMA
34
........................................ . .. ..................................................................................
2.1 EL JARAMA: A BACKGROUND
34
.............................................................................................
2 1.1 El Jaraina discourse
and spoken 34
..... ..................... . .. . . ........................................................
2 1 2 The
story 35
. . .............................................................................................................................
Z 1.3 The hidden
story 37
.................................................................................................................
2.2 TESTING NEWMARK: OBJECTIVES AND STRATEGIES
40
....................................................
ZZI Objectives
40
.................................................... . ..... . .. ..............................................................
2. Z2 Strategies
42
...............................................................
. ... .........................................................
ZZ3 The Text In Question
44
...........................................................................................................
2.2.3.1 The Target Audience
44
.........................................
.... . ..................................................................... .
2.2.3.2 Character Mapping
47
......................................................................................................................
.
2.2.3.3 Language Defects
49
.............................................
. .. .. . ..................................................................... .
2.2.3.4 Language 'Abnormalities .
50
................................
.......................................................................... .
2.2.3.5 'Defective' Language
54
...................................... . ..... ......................................................................
2.2.3.6 El Jarama. local flavour.
and problem engendered 55
........................................................................
2.2.3.7 Loyalty and the Translator 61
..............................................
.. . ...........................................................
2.2.3.8 Reflections Register
of 75
.................................................................................................................
2.2.3.9 Cultural Perspectives
79
..... ..............................................................................................................
2.2.3.10 'Erroneous Language ..................................................................................................................
83
2.2.3.11 The 'Informative' El Jararna
87
.......................................................................................................
2.2.3.12 Semantic Determination
89
............................................ . . ...............................................................
2.2.3.13 To Update Not?
or 91
...........................................................
...........................................................
2.2.3.14 Second Hand News?
92
...................................................................................................................
2.2.3.15 Who Cares?
93
................................................................................................................................
2.2.3.16 Semantic Interpretative
vs 93
...........................................................................................................
3. TIEMPO DE SILENCIO
97
... . ......................................................................................................
3.1 INTRODUCTION
97
............................ .. .... . . . . .. .. . . ... .. .................................................................... .
3.1.1 Author
99
and novel
................................................................................................................
.
3.1.1.1 ne historical backdrop to Tiernpo de 99
silencio
..............................................................................
3.1.1.2 Martin-Santos: his
a writer of times 100
...................... .....................................................................
3.2 THE LANGUAGE OF TIENWO DE SILENCIO
101
......................................................................
3.2 1 General discourse
types 101
....................................................................................................
3.2.2 Characters'language
103
use
..................................................................................................
3. Z3 Internal
103
monologue
...........................................................................................................
3.2.3.1 Characters' internal
108
monologue
..................................................................................................
3.2.3.1.1 Cartucho, 108
.............................................................................................................................
3.2.3.1.2 La decana
115
........................................................................................................................... .
3.2.3.1.3 Similiano, 123
...........................................................................................................................
.
3.2.3.1.4 Pedro
129
.................................................................................................................................
.
3.2.3.2 T'he behind internal 134
reasons monologue
..................................................................................... .
3.3 NARRATIVE VOICE
135
..............................................................................................................
3.3.1 Narrator
136
as social commentator
........................................................................................
3.3.2 The
soliloquising 137
narrator
....................................
.. . ..........................................................
3.3.3 The language
144
narrators'
....................................................................................................
3.3.4 Narration discourse
146
as spoken
................................
.. . ................................................ . . .....
3.4 LAYOUT
148
.................................................................................................................................
3.4.1 Layout
148
and content
..................................
..........................................................................
3.4.2 Layout
the translator 151
and
.................... . ... ..........................................................................
3.4 3 Layout internal
153
and monologue
. ....................................................................................... -
3.5 LANGUAGE: TRICKS AND STYLE
160
......................................................................................
3.5.1 Linguistic innovation
163
.........................................................................................................
3.5.2 TenselFocus
165
shift
..............................................................................................................
3.6 TIENTO DE SILENCIO AS SOCIAL COMNENTARY 169
.........................................................
3.7 TIEMPO DE SILENCIO AND THE NEANING OF SYMBOLS 170
.............................................
3.7.1 Symbols
the translator 177
and
................................................................................................
3.7.2 Footnotes
179
..........................................................................................................................
3.7.3 Temporal
182
and spatial referents
..........................................................................................
3.7.4 Pedro 182
as symbol
................................................................................................................
3.7.4.1 Other 184
characters
.........................................................................................................................
3.7.5 Semiotics the 185
and narrator
................................................................................................
3.8 CULTURE 185
...............................................................................................................................
3.8.1 Cultural boundaries 189
...........................................................................................................
3.9 NUSINTERPRETATIONS 189
.......................................................................................................
3.9.1 Definitions 190
........................................................................................................................
3.9.2 Time 191
ofSilence
..................................................................................................................
3.10 T1EM[PO DE SELENCIO TIMEE OF SILENCE 194
vs
..................................................................
4. LAS CARTAS BOCA ABAJO 196
................................................................................................
4.1 GENERAL 196
CONSIDERATIONS
.......................................................................................................
4.2 THIS (1) 198
TRANSLATION
...............................................................................................................
4.3 RADIO 199
DRAMA: THE PUBLIC'S AND TRE TRANSLATOR'S VIEW
.......................................................
4.4 THIS (II) 201
TRANSLATION
.............................................................................................................
4.4.1 Expansion 201
.........................................................................................................................
4.4.2 Personalisation 218
.................................................................................................................
4.4.3 Cultural 221
references
...........................................................................................................
5. CONCLUSIONS 229
......................................................................................................................
6. BIBLIOGRAPHY 242
.................................................................................. . ................................
6
1. INTRODUCTION
OK«
t4 (4«"4e 74« de
CW amu dAdoge a di«9(4
2md &«e.
(a am da de#
ma.
a4 604am dA", do
--
de#
ma «a a«dmt4«d ada jag e* o« amam, 44
2m4 d*AOZM4 dem AO« 4u ",
e4
aa «, m
The from Genesis 11, in
the
above quotation, many ways aptly encapsulates
lie behind
the faces
whole gamut of problems which nightmare which every
translator today. History has that the family
evolved such of man speaks with
thousands different in harmony. Into this fray the
of voices: rarely
steps
translator for her/his to
the
who, sins, attempts provide some of missing
harmony bridge between This is
and a gap cultures and peoples. not an
task, by the imagination.
easy any stretch of
The this thesis is to to the
objective of attempt analyse whole process of
translation, look its i. the
and specifically at one of more polemic areas, e.
translation discourse. Naturally, by the the beast,
area of of spoken nature of
the focus be the form the than the
will on written of word, rather oral.
1.1 Translation:
some considerations
It be this juncture, to by the
may as well, at reflect on what we understand
translation. The have it today in English, has its in
word word, as we origins
the Latin translatum, the transferre, 'to
which was supine of which meant
Thus
translation
carry'. we might consider as a carrying of an utterance, or
thereof, between languages. All but
some part well and good, a carrying,
does that A translation is,
what mean? essentially, a piece of our own
language happened to have its in language. Whatever
which
origin another
7
its in
origin, a perfect world we should not be aware, through anything
linguistic, that the is
from
utterance tongue.
a refugee
another
Translations in
Classically, is distinction
come all shapes and sizes. there a
between translating interpreting,
the former to the
made and
referring written
the latter has its domain the the In
word while as realm of spoken word. many
there to be two these two forms
ways appear separate operations as regards
language transfer. At the heart is (T), to
of of each a common core added
the (r
type
which are particular problems associated with each of exercise
ts the following the
and respectively), producing schematic representation of
process:
(T
+
(T
+
In this thesis I intend to that between these two
examine grey realm neat
falls that form language to be
categories, wherein of written which purports a
the
reflection of spoken word.
If for the issue translate, the best
we consider a moment of why we answer
be to that to knowledge, in form.
would perhaps say we wish share whatever
This final is important because be loath to
qualification many people would
literature, in its forms, knowledge. However,
consider many as ý without
to too heavily dependent it is true to say
wishing appear upon clich6, possibly
'enriched' by literature/fiction
that we are any piece of with which we come
into (this, is to the 'literary
contact again, polemic, and gives reign notion of
We from hear; in this
snobbery'). gain something everything we read or way
knowledge through Translation is key
we share any act of communication. a
factor in that takes
process, as not all communication place within our own
language. The translation the 'secret knowledge'
unlocks of other societies
to helps bring the furthest the
and cultures, and some extent corners of globe
little If knowledge, it is important to
a nearer. we are considering recognise
types knowledge it to
that
certain of require greater care when comes
them between languages. In ideal
all
carrying an world, of course,
be level However, do
translations
would graced with an equal of care. we not
S
live in in
the
such a world, and do inhabit, knowledge
world which we certain
may become extremely dangerous if translated this is the
not properly: realm
the 'technical' translation. Whilst literature flexibility in its
of
allows a certain
translation, technical be if liberties
material may rendered useless such are
taken. This hinges idea input, the
concept, which on an of expected raises
is 'correct' translation in this field? The
question of what a conveyed notion
is that there is the
a sector of world's populace which shares a common
knowledge base, 'truths'. The translator towards the
so-called
may aim
truths, than towards her/his instinct
rather what would counsel.
We have discussed, in We
translate.
already a generalised way, why we
have touched the translation is. Before
also upon question of what a moving
to the 'practical' to be it is
on examine some of many problems encountered,
that translation does 'work'. This is to
perhaps worth suggesting not not
into the 'is translation ' but to
enter possible? question, rather, asks us
the background language. A language is
consider of every a reflection of our
in its Every language
reality, all manifestations: culture, society, etc. reflects
different because inhabits different from its
a world, each society a world
to lesser The live factors
neighbour, a greater or extent. way we and which
lives Thus, language to these
affect our are unique. our evolves reflect
truly
unique occurrences, occurrences which only we, as experiencers, can
In this form they
comprehend. way, our cultures a world map, reflecting as
-
do that is true to the that
which relevant and people of culture's area.
-
Benjamin Lee Whorf forward the following the
put explanation of
linguistic
of worldviews':
phenomenon
We dissect lines laid down by
nature along our
languages. The types that
native categories and we
isolate from the do find
world of phenomena we not
there because they in the face;
stare every observer
the the is in
on contrary, world presented a
Whorf, Benjamin Lee, Language, Thought Reality in Selected Writings Benjamin Lee
and of
Whorf, Caroll, Cambridge, Mass., 1956
9