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Eng Keywords > MUNDAY > Flashcards

MUNDAY Flashcards

1
Q

OTTO KAEDE

A

Difference between WRITTEN TRANSLATION and INTERPRETING

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2
Q

ROMAN JAKOBSON’S LINGUAL MODE

A

INTRALINGUAL TRANSLATION
INTERLINGUAL TRANSLATION
INTERSEMIOTIC TRANSLATION

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3
Q

JAMES S. HOLMES

A

HOLMES FRAMEWORK (see on notepad)

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4
Q

LANGUAGE APPROACHES

A

GRAMMAR TRANSLATION / COMMUNICATIVE OR DIRECT METHOD

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5
Q

VAN DOORSLER MAP

A

TRANSLATION / TRANSLATION STUDIES (strategies, approaches ecc)

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6
Q

CICERO/ ST. JEROME

A

W-F-W VS S-F-S

CONCEPTS OF FIDELITY/SPIRIT/TRUTH

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7
Q

DAO’AN

A

yiyi, zhiyi, shiben in sutra translation

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8
Q

ETIENNE DOLET

A

5 PRINCIPLES OF GOOD TRANSLATOR
- knowledge of ST context and culture
- knowledge of SL and TL
- avoid wfw
-avoid archaism or unsual forms
-avoid clumsiness

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9
Q

JOHN DRYDEN

A

METAPHRASE/PARAPHRASE/IMITATION

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10
Q

SCHLEIERMACHER

A

UBERSETZER/DOLMETSCHER - moving readers towards the writer

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11
Q

EUGENE NIDA

A

NIDA’S THEORY OF TRANSLATION= equivalence effect, influenced by Chomsky (categorizations and kernels), formal equivalence & dynamic equivalence, priority in meaning equivalence

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12
Q

KOLLER

A

EQUIVALENCE VS CORRESPONDENCE

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13
Q

PYM

A

Use of CATs, NATURAL EQUIVALENCE, DIRECTIONAL EQUIVALENCE

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14
Q

VINAY & DARBELNET

A

DIRECT TRANSLATION (borrowing, calque, wfw) & OBLIQUE TRANSLATION (transposition, modulation, idiomatic translation or equivalence, adaptation) // SERVITUDE 6 OPTION

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15
Q

CATFORD

A

linguistic shifts (level shifts and category shifts)

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16
Q

JIRY LEVY

A

AESTHETIC EQUIVALENCE, MARKEDNESS

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17
Q

TAPs

A

Think aloud protocols (how work? criticism?)

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18
Q

KATHRINA REISS

A

TEXT TYPES (informative, expressive, operative, + audiomedial and phatic) , translation type depends on text type, what about hybrid texts?

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19
Q

SNELL-HORNBY

A

Stratificational level
LEVEL A (general and special language translation)
LEVEL B (prototypical text types)
LEVEL C (non-linguistic disciplines related)
LEVEL D (translation process)
LEVEL E (linguistics related to translation)
LEVEL F (lowest aspects like phonological)

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20
Q

JUSTA HOLZ-MANTTARI

A

ROLES & PLAYERS (initiator > commisisoner > ST author > TT author (translator) > TT user > TT receiver)

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21
Q

HANS VERMEER

A

SKOPOS THEORY, functionally adequate translation (should purpose skopos, be coherent with st and internally coherent), criticism = skopos may be fullfilled but translation may not be correct

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22
Q

CHRISTIANE NORD

A

DOCUMENTARY TRANSLATION & INSTRUMENTAL TRANSLATION , importance of context and presuppositions

23
Q

HALLIDAY

A

model of discourse analysis based on SFL
- discourse
- genre
- register
- semantics
- lexico-grammar

CONCEPTS OF FIELD, TENOR & MODE

24
Q

HOUSE

A

COVERT & OVERT TRANSLATION

25
Q

BAKER

A

COHERENCE, PRESUPPOSITION, IMPLICATURE

26
Q

PAUL GRICE

A

MAXIMS OF GOOD COMMUNICATION

27
Q

ITAMAR EVEN-ZOHAR

A

POLISYSTEM THEORY (hierarchic organization, translation strategy depends on translated literature position)

28
Q

GIDEON TOURY

A

METHODOLOGY OF THE DESCRIPTIVE BRANCH ( study text in ST context, study text segments, attempt generalizations about patterns) / RULES, NORMS, CONVENTIONS / LAW OF GROWING STANDARDIZATION / LAW OF INTERFERENCE (negative or positive interference)

29
Q

CHESTERMAN

A

S-UNIVERSALS / T-UNIVERSALS //
PRODUCT or EXPECTANCY NORM & PROFESSIONAL NORMS (accountability, communicative, relation)

30
Q

ANDRE’ LEFEVERE

A

Concrete factors shaping the reception, acceptance or rejection of a literary work. POETOLOGICAL REASONS & IDEOLOGICAL REASONS, INNER CIRCLE & OUTER CIRCLE (aka PATRONAGE)

31
Q

SHERRY SIMON

A

gender pov on translation studies

32
Q

LAWRENCE VENUTI

A

Translator INVISIBILITY, DOMESTICATION & FOREIGNIZATION

33
Q

ANTOINE BERMAN

A

translation as EPREUVE / Negative analytics (clarification, amplification, ennoblement, change of idioms, rhythms and such)

34
Q

GEORGE STREINER

A

HERMENEUTIC APPROACH, hermeneutic method (initial trust, aggression, incorporation /sacramental intake & infection/ and compensation) // RESISTANT DIFFERENCES

35
Q

WALTER BENJAMIN

A

MAGICAL FUNCRTION, HIGHER TRUTH

36
Q

PHILIP LEWIS

A

ABUSIVE FIDELITY (too much experimentation on translated text)

37
Q

FRIEDERIC CHAUME

A

Translation and cinematographic studies

38
Q

VULNERABLE TRANSLATION

A

st soundtrack and subtitles coexist and create expectation on receivers who has knowledge about SL

39
Q

LABOV

A

Martha’s vineyard island sound changes (natives/tourists // insider/outsider )

Social stratification of english in New York (5 classes, symbol of pride, belonging to a group, change of pronunciation to social climb, hypercorrection)

used innovative research methods (different plots for interviews, data collection, relaxed way of talking)

40
Q

TRUDGILL

A

Norwich English 16 pronunciations (based also on INCOME, OCCUPATION, NEIGHBOURHOOD, TYPE OF HOUSING)

41
Q

BERNESTEIN

A

adds social class to linguistic studies/ SCHOOL shapes students and society (CURRICULUM, PEDAGOGY, EVALUATION)

ELABORATED CODE VS. RESTRICTED CODE

42
Q

BORDIEU

A

DOMINANT USAGE depends on dominant class not on better option

43
Q

MILROYS

A

urban dialects in British society/ influence of subgenres as religion, gender ecc.

44
Q

SHIRLEY HEAT

A

Textile mill workers, white community & black community

45
Q

BEN RAMPTON

A

PRIMARY REALITIES & SECONDARY REPRESENTATION

46
Q

REPERTOIRE CONCEPT

A

what is that?

47
Q

MAINSTREAM RP

A

Standard english, regionalismi, smoothing, assimilazioni, nasce nel 14 secolo dalla classe mercantile

48
Q

ADOPTIVE RP

A

parlata da chi non parla rp sin da bambino, evita regionalismi, smoothing, assimilazioni ecc.

49
Q

UPPER CRUST RP

A

Queen’s English/ dittongo ascendente per alcune vocali, pronuncia di vocali molto aperte o molto arrotondate, fenomeno smoothing (monottongazione) , effetto CRISP & CLEAN con pronuncia R monovibrante retroflessa, variante in -IN delle forme -ING, STEADY STATE, PLUMMINESS, avverbi intensificatori

50
Q

INGLESE SUDEST

A

NON ROTICITA’, presenza GLOTTAL STOP

EAST ANGLIA (Yod dropping, smoothing vocale E in “here” e “there”, ritmo peculiare che allunga vocali lunghe)

HOME COUNTIES (dittonghi aperti, pronuncia /ai/ in “by”, pronuncia del “th” come F e V)

51
Q

COCKNEY

A

associato alla WORKING CLASS, uso accentuato GLOTTAL STOP anche per K e P, RHYMING SLANGS (pork & pies= lies, Adam & Eve= believe), H DROPPING, vocalizzazione L

Esempio nei media= personaggio della fioraia Eliza in “Covent Garden” di Bernard Sham

52
Q

ESTUARY ENGLISH

A

a metà tra RP e Cockney, possibile nuovo standard english, ASPIRAZIONE H, uso di CHEERS per “thank you”, uso dei TAGS, pronuncia del “TH” con /teta/ e /delta/, uso del GLOTTAL STOP, pronuncia del /tj/ come /t-yod/

spesso usato da persone influenti, personalità pubbliche per avvicinarsi alle classi sociali puù basse

53
Q

INGLESE SUDOVEST

A

presenza ROTICITA’, rimandi al gaelico (CORNISH), intrusive r ed l, presenza monottongo /e:/ come al nord piuttosto che dittongo /ei/

Usato da Thomas HARDY per rappresentare pg delle campagne inglesi

54
Q

SCOUSE

A

dialetto Liverpool, influenzato da irlandese, Asia, Africa ecc (città portuale), TIP-UP = ritmo ascendente, MERSEYSIDE SOUND= presenza del velar nasal plus simile a congestione nasale, realizzazione delle OCCLUSIVE come FRICATIVE ed AFFRICATE= /K/ come /kx/, da senso di BREATHINESS

Eng Keywords (1 decks)

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