https://www.um.edu.mt/library/oar/handle/123456789/6398 2026-04-04T20:08:27Z https://www.um.edu.mt/library/oar/handle/123456789/7043 Title: A cultural approach to the literary translation of Frank McCourt’s memoir "Angela’s ashes" into Maltese Abstract: The process of literary translation can no longer ignore the intralinguistic and extralinguistic source culture-specific elements (InSCSEs and ExSCSEs, respectively) that constitute an integral part of the source text (ST), i.e. the cultural aspects of translation. The main aim of this study involved the identification and descriptive analysis of the culture-specific elements (SCSEs) around which the ST (Chapter 1 of Angela’s Ashes by Frank McCourt) is shaped, and how these influenced the target text (TT), composed within a bilingual setting, in the translation process. This cross-cultural study made an in-depth examination of the similarities and differences between the ST and the TT within their respective culture, in order to identify the cultural gains and gaps existing between them and which may create linguistic and/or cultural complexities, thus inhibiting the literary translation process. It also aimed to identify and analyse the various translation strategic processes which could be adopted by the researcher so as to keep cross-cultural losses to a minimum, while keeping in mind that the principal aim of any literary translation is to make the transformation of the ST into the TT successful. For this reason an exercise of practical translation was used accompanied by an analytical study based on observation and reflection vis-à-vis the translation processes involved from a cultural and linguistic approach. This research showed that the number of ExSCSEs present in the ST outnumbered the InSCSEs. Whilst the InSCSEs translated involved idiomatic and fixed expressions, slang terms, dialectal code-switching and interjections, the ExSCSEs transposed into the TT included historical, political, historico- or politico-religious cultural references, proper names and Irish or non-Irish songs. Sometimes it was not easy to identify the various SCSEs, especially when dealing with historical or political references, with neo-figurative expressions created by the author himself or with the fine distinction between “dialect” and “slang”. Various individual cross-cultural translation strategies were suggested, presented in flow-chart formats, varying from source language/source culture to target language/target culture bias approach in order to keep cultural losses to a minimum whilst maximising the possibility of cultural gains. Some strategies were used concurrently with others. In the case of ExSCSEs involving SCSEs on a conceptual level, no specific strategies were identified. Although the strategies used tried to promote a hybridised cross-cultural TT, strategies favouring a more target language/target culture oriented approach were preferred, especially with regards to the transposition of InSCSEs. It was concluded that translatability of the various SCSEs from the ST into the TT was possible, either through equivalent correspondence or compensation. However, cultural losses were unavoidable (e.g. the figurative meaning of idioms or the effects of dialectal code-switching), although cultural gains featured prominently as well (e.g. the introduction of new idiomatic and fixed expressions or the creation of TL pseudo-dialects). Finally, this study helped to strengthen further not only the level of research in narrative translation studies in general, but also the research done in Maltese narrative literary translation from a cultural point of view, in order to analyse the ways in which various SCSEs found in the ST affect the TT during the translation process, an area of study which is still in its infancy locally. Description: PH.D.TRANSLATION 2015-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/6496 Title: Traduzzjoni ta’ silta mill-ktieb “The Great Gatsby” ta’ F. Scott Fitzgerald : aspetti kulturali Abstract: L-għan ewlieni ta’ din it-traduzzjoni huwa li jiġi analizzat il-mod ta’ kif kitba li saret fl-1925 tista’ tiġi tradotta b’mod li l-udjenza li taqraha f’perjodu ta’ żmien differenti tkun tista’ tifhem il-kunċett ewlieni simili ta’ dak li nkiteb fit-test sors. L-udjenza mira ta’ din it-traduzzjoni mhix waħda speċifika iżda tista’ tolqot lill-udjenza Maltija li għandha interess partikolari fil-letteratura. Barra minn hekk, l-enfasi prinċipali se ssir fuq it-tema prinċipali tal-kultura tal-lingwa mira, li tinkludi bosta kunċetti bħat-twemmin, id-drawwiet u l-lingwa. L-isfida ta’ din it-traduzzjoni hija kemm il-qarrej tal-lingwa mira se jifhem il-kultura li biha ġiet tradotta s-silta. Il-mira ta’ dan l-istudju hija li l-ktieb The Great Gatsby li huwa ta’ fama u interess internazzjonali jkollu għarfien simili mal-qarrej Malti. Fl-istess waqt, għan ieħor għal din it-traduzzjoni huwa li l-qarrej mira ikabbar l-orizzonti tiegħu billi jkompli jadatta ruħu għal-letteratura barranija. Description: M.A.TRANSL.&INTERPRET. 2015-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/6493 Title: Sottotitoli bil-Malti għal La vita e bella ta’ Roberto Benigni Abstract: L-interess tiegħi fis-sottotitli bil-Malti beda meta waqt lekċer iddedikat għal dan il-qasam, bħala klassi rajna l-film Il-Koristi ta’ Christophe Barratier u iktar ’l quddiem ġejna murija wkoll Fight Club ta’ David Fincher u minn hemmhekk l-interess inbidel f’xi ħaġa konkreta li nista’ naħdem fuqha għat-teżi tiegħi. Bosta huma l-vantaġġi li film jkun sottotitolat. M’hemmx dubju lis-sottotitli huma essenzjali biex dawk nieqsa mis-smigħ, bħala minoranza lingwistika xorta waħda jkunu jistgħu jgawdu films u programmi awjdoviżivi. Das-sottotitli jridu jsiru b’sensibiltà ferm ikbar minn dawk għal persuni li m’għandhomx din id-diżabiltà. Dan għaliex ġie ppruvat li meta stampi u kliem jitqiegħdu flimkien jitjieb l-akkwist ta’ lingwa fil-mira, speċjalment fost it-tfal.Għat-televiżjoni nsibu ‘paġna’ partikolari bi programm teletest, li apparti s-sottotitli għal films, jagħti wkoll aħbarijiet u informazzjoni oħra. Imma l-idea li s-sottotitli f’ilsna differenti huma utli biss għal dawk in-nies nieqsa mis-smigħ jew għandhom xi problema tas-smigħ mhix minnha. Dan għaliex huma wkoll bżonnjużi għal dawk li ma jifhmux il-lingwa oriġinali li biha inħadem il-film. Is-sottotitli jservu wkoll biex titkabbar il-kultura ta’ pajjiż għaliex iwasslu l-aspetti kulturali u soċjali li jmissu magħhom films barranin li soltu ma jkunux aċċessibli. F’Malta l-maġġoranza tal-films li jintwerew fis-swali taċ-ċinema u fuq it-televiżjoni jkunu bl-Ingliż. Dan jista’ jkun kemm ta’ vantaġġ kif ukoll żvantaġġ għaliex għalkemm b’hekk nirċievu fluss kbir ta’ films li jkunu għadhom kif ħarġu, ma jfissirx li kull Malti jaf jew jifhem l-Ingliż b’tali mod li ma jitlef xejn mis-sens tal-film, avolja nqisu rwieħna bħala pajjiż bilingwi. Dan huwa ta’ żvantaġġ ukoll għaliex nitilfu films li b’lingwi oħra viċin tagħna u anki dawk b’lingwi li ftit jew xejn hawn fostna li jifhmuhom. L-għażla tiegħi waqgħet fuq La vita è bella ta’ Benigni u Cerami għax dan film li joffri sfida kbira. Hu jimxi fuq linja sottili ta’ umoriżmu, fantażija u traġedja, u għalkemm komiku jirnexxilu jikkomunika b’mod effettiv it-tbatijiet li seħħew fil-kampijiet tal-konċentrament nażisti matul it-Tieni Gwerra Dinjija. Għażilt il-verżjoni Taljana u mhux dik Ingliża għaliex xtaqt naħdem fuq xi ħaġa mill-lingwa oriġinali bit-Taljan. Description: M.A.TRANSL.&INTERPRET. 2015-01-01T00:00:00Z https://www.um.edu.mt/library/oar/handle/123456789/6490 Title: Translating the subtitles of the film "Hitchcock" into Maltese Abstract: The main aim of this dissertation is the translation of the subtitles of the biopic Hitchcock released in 2012 and directed by Sacha Gervasi, into Maltese. Since the text being put under the lens belongs to the audiovisual realm, a look at audiovisual translation, both with regard to the technological element and its ties with the art of cinematography sets the scene. Apart from the translation itself, one of the objectives of this dissertation is to try to highlight the importance of the medium of film which is more than just a mere background; leaving quite a strong impact on the translator and the choices he makes. The subtitler, be it in a professional setting or an academic one, is ultimately juggling three languages: the Source and Target Text and film language. Any subtitler worth his salt should have at least a basic knowledge of the tools used by film-makers to captivate their audience while also trying their best to secure critical acclaim. Indeed, one has to be careful not to let the translated text hinder the audience’s appreciation of the film. Moreover, at times the words used have to reflect the anticipation of what’s to come or a certain build-up of events. The movie within a movie element on its own warrants quite a thorough study. Thus, a whole chapter is being devoted to the original Hitchcock masterpiece, Psycho and the biopic, with detailed reference to crucial scenes in both movies, the towering figure of Hitchcock the genius film-maker and his relationship with his life-long companion and prime collaborator Alma Reville. The steps taken to complete the project are laid out, followed by the translation itself. A closer look at the linguistic and cultural challenges coupled with the strict time constraints faced during the translation of the audiovisual text ensues. The concept of taking the viewer abroad and widening his world view, rather than bringing the text close to him was largely upheld. Foreignisation is the technique most translators and translation scholars opt for and advocate. Though domestication is sometimes necessary to avoid misleading the target audience, if this technique is prioritised, it may be conducive to a lack of equivalence between both texts. Certain phrases that are inherently linked to the American culture were left untranslated, as any attempt to transcribe them by adhering to the lexical and orthographic rules of the T.T. would have led to a loss. On a more technical level, one cannot disregard the extreme caution on the part of the subtitler not to exceed the limit imposed by the scene when it comes to the number of words and characters. There is also a very short time window per scene which has to be adhered to religiously; otherwise, this could impact negatively on the synchronisation of the text with the character’s utterances, apart from complicating the viewer’s life unnecessarily. Ultimately, this dissertation seeks to prove that the holistic translation of any text, belonging to any medium cannot be achieved if the translator fails to capture the essence of the words and does whatever it takes even by reworking the words within a different structure to evoke the same feeling or convey the same message to the target reader. Description: M.A.TRANSL.&INTERPRET. 2015-01-01T00:00:00Z