The role of discourse markers in an Afrikaans stage translation of<i>the merchant of Venice</i>

Kruger, Alet

doi:10.1080/02564710408530359

Cited by 5 publications

(5 citation statements)

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“…In this case study, it was possible to omit DMs in only two cases: with some tag questions and when the DM was merely one of the "features of involvement" (Kruger 2004) aimed at recreating the effect of naturally occurring conversation. The absence of elements typical of spoken language, such as fillers and back channels, forces the translator to keep as many DMs as possible not only to render the effect of spoken conversation but also to highlight its interactive structure in the dramatic dialogue.…”

Section: Discussionmentioning

confidence: 99%

“…The following example, in contrast, reveals how a tag question can be omitted: The above passage is rich in what Kruger (2004) defines as "features of involvement," that is:…”

Section: Request For Agreement And/or Confirmationmentioning

confidence: 99%

“…Recent studies on the translation of DMs include Degand (2015) on film subtitles, Chiaro Nocella (2000) on the translation of a specific type of DMs, i.e., tag questions, in the film Four Weddings and a Funeral, and Mariano's thesis (2002) on the translation of DMs in the Italian version of Harry Potter and the Philosopher's Stone by J.K. Rowling. To the best of the authors' knowledge, the only study carried out on the translation of DMs in theater is that of Kruger (2004), who analyzes the role of DMs in an Afrikaans translation of The Merchant of Venice. None of the recent studies on DMs focuses on their translation in theater.…”

Section: Introductionmentioning

confidence: 99%

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Translating discourse markers in theater

Tarantini

Benatti

2019

TIS

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This article examines the translation of discourse markers in drama dialogue. Discourse markers are an important feature of spoken language, and unsurprisingly, they abound in drama dialogue. Yet very few studies have addressed the issue of discourse markers in theater translation. While some scholars suggest that discourse markers do not add anything to the propositional content of the sentence (Bazzanella 1994), our study reveals that it is very difficult to omit them in translation. In this article we suggest that an approach based on pragmatics could inform the practice of translating discourse markers in a playtext without overriding the importance of the rhythm of a spoken utterance, which is vital for rendering a play in translation (Bartlett 1996).

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Section: Discussionmentioning

confidence: 99%

“…The following example, in contrast, reveals how a tag question can be omitted: The above passage is rich in what Kruger (2004) defines as "features of involvement," that is:…”

Section: Request For Agreement And/or Confirmationmentioning

confidence: 99%

Section: Introductionmentioning

confidence: 99%

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Translating discourse markers in theater

Tarantini

Benatti

2019

TIS

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“…DMs examined in this study Table 1 presents an alphabetically arranged list of the DMs examined in the language samples of the participants. This list was compiled by combining the markers mentioned in various sources, namely Bergerson (2002), Beukes (2007), Carstens (1997), Fraser (1999, Kruger (2004), Louwerse and Hite Mitchell (2003), Norrick (2001), Roberge (2002) and Schiffrin (1987), and translating them into Afrikaans. English translations of each marker are provided in parentheses (note that some DMs are English words frequently used in Afrikaans).…”

Section: 4mentioning

confidence: 99%

The use of discourse markers by Afrikaans-speaking preschoolers with and without specific language impairment

Southwood

Carinus

Engelbrecht

2011

Stellenbosch Papers in Linguistics Plus

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Discourse markers (DMs) are words or phrases speakers employ to coordinate what they want to say when, to whom and how during conversation. The purpose of this study was to establish (i) what types of DMs occur in the language of young Afrikaans-speaking children; (ii) what development, if any, takes place in DM use from the age of 4 years to 6 years; and (iii) how, if at all, the use of DMs by children with specific language impairment (SLI) differs from that of typically develping (TD) children. The participants were three Afrikaans-speaking groups: 15 TD 6-year-olds, 15 6-year-olds with SLI, and 15 TD 4-year-olds matched on mean length of utterance with the SLI group. A 30minute spontaneous language sample was obtained from each participant. The number of occurrences of DMs (tokens) and the number of different DMs (types) used during these 30 minutes were tallied for each participant individually and for each of the three groups. It was found that maar 'but', en 'and', ja 'yes', and dan 'then' were some of the most frequently occurring DMs in the three groups. The SLI group used DMs that also occurred in the language of the TD groups, but the SLI group also used DMs which were not used by the TD groups at all. In terms of number of different DMs used, the SLI group functioned at a level between the two TD groups: They used more and a wider range of markers than the 4-year-olds but fewer and a smaller range of markers than their 6-year-old peers. It appears then that the use of DMs shows development between the ages of 4 and 6 years and that the use of DMs is delayed in children with SLI. Appropriate use of DMs can improve listeners' understanding of what is said; as such, it is recommended that speech-language therapists make DMs a focus point during therapy delivery to children with language impairment.

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“…Who is responsible for performability: problems peculiar to theatre translation Theatre translation is gaining recognition with the development of globalization at the turn of the new century. More and more scholars are becoming concerned with the nature of theatre translation, such as Susan Bassnett (1978Bassnett ( , 1980Bassnett ( , 1985Bassnett ( , 1991Bassnett ( , 1998, Patrice Pavis (1989Pavis ( , 1992Pavis ( , 1997, Kruger (1986Kruger ( , 2004, Nikolarea (2002), Aaltonen (1996Aaltonen ( , 2000, to mention just a few. Through various perspectives, semiotic, cultural and theatrical, most of them agree that theatre translation is peculiar with its own rules.…”

Section: Introductionmentioning

confidence: 99%

A translator on the target stage

Ren

Qing-hua

Wang

2010

Babel

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Ying Ruocheng, an admirable artist in China and abroad, was responsible for the translation and production of many foreign plays in China and Chinese plays abroad, with which Ying played an important role in transforming China’s cultural life, encouraging international exchange and promoting modern drama. Based on his experience in drama and film acting and directing as well as translating, he argues that the major concern of theatre translation is its performability and speakability, which can be achieved through the recreation of the orality and gestic text with each role’s unique discourse and individuality. The paper is focused on researches on Ying’s text choice and his dramatic dialogue translation to explore the characteristics of his theatre translation and influence. The study selected his two well known translations and productions in the target theatre Death of a Salesman (English to Chinese) and The Family (Chinese to English) as case studies. Text processing software Concordance 3.0 and TextPreProcessing were used to collect appropriate data. Through the careful data analysis from the aspects of word frequency, sentence length, discourse markers and deixis, Ying Ruocheng’s idea of performability in theatrical translation were proved to be true, which demonstrates his discriminating taste of dramaturgical art and his great influence on Chinese modern drama.

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The role of discourse markers in an Afrikaans stage translation ofthe merchant of Venice

Cited by 5 publications

References 16 publications

Translating discourse markers in theater

Translating discourse markers in theater

The use of discourse markers by Afrikaans-speaking preschoolers with and without specific language impairment

A translator on the target stage

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