Sproule, Kent Arthur (1995) Criteria for the effective translation of spoken discourse: the evidence from selected modern Spanish texts. PhD thesis. http://theses.gla.ac.uk/1805/ Copyright and moral rights for this thesis are retained by the author A copy can be downloaded for personal non-commercial research or study, without prior permission or charge This thesis cannot be reproduced or quoted extensively from without first obtaining permission in writing from the Author The content must not be changed in any way or sold commercially in any format or medium without the formal permission of the Author When referring to this work, full bibliographic details including the author, title, awarding institution and date of the thesis must be given Glasgow Theses Service http://theses.gla.ac.uk/ [email protected] 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