An Introspective Analysis of a Literary Translation

Transkript

1 An Introspective Analysis of a Literary Translation An empirical study based on a translation of Geraldine O Neill s Cara Gayle Why do literary translation? Of all the forms that translation takes such as commercial, financial, technical, scientific, advertising, etc. only literary translation lets one consistently share in the creative process. Here alone does the translator experience aesthetic joys of working with great literature, of recreating in a new language a work that would otherwise remain beyond reach (Landers 2001: 4-5). By Exam No May, 2011 Aarhus School of Business Supervisor: Anne Schjoldager Number of characters:

2 Abstract This bachelor thesis is about literary translation. It is an analysis of translation problems, macrostrategies, and microstrategies. Because I enjoy the actual translation process, I decided to do my own translation and an introspective analysis. I found one of my favorite books and searched for a suitable passage. I chose the beginning of chapter 8 in Geraldine O Neill s book, Cara Gayle. The book is about an Irish woman who goes to the USA to get away from her cheating husband. She encounters many obstacles along the way but ends up finding new, true love. The book takes place in 1963 in both Ireland and the USA. I knew it would be an interesting job to translate the references specific to these places and this time period. I based my analysis on Anne Schjoldager s Four-point Model for Translation Analysis. This model is based on questions about the source text, the target text, the macrostrategy, and the microstrategies. Christiane Nord has made a model of translation problems that I also used to distinguish between the problems I encountered while I translated. The translation was done by dividing the source text into segments that would be analyzed individually. Some segments had no translation problem, while others had one or two. I was convinced that in a literary text like the one I translated, the source-text and target-text cultures and situations would be so different that it would have caused a lot more pragmatic translation problems than the ones I found. Furthermore, I did not expect direct translations to be applied as often as it did. My analysis shows that oblique translation was the microstrategy used most often. The second most used microstrategy was direct translation. I had expected to use more paraphrasing or adaptation, since these are the strategies that rephrase a segment and make it fit target-text conventions and situations. My introspective analysis shows, though, that in this specific translation situation, direct translation and oblique translation were the most appropriate microstrategies. Characters: Side 1 af 48

3 Table of Contents 1. Introduction Literary Translation The Book The Translation Method Theories Translation Problems Macrostrategies Microstrategies Introspective Analysis The Source Text The Target Text Macrostrategy Microstrategies Conclusion References Appendices Appendix A Appendix B Appendix C Side 2 af 48

4 1. Introduction The English language has always been a big part of my life. I have watched many English TV shows and movies. Lately, I have begun to read novels written in English. During my time at the Aarhus School of Business, ASB, I have learned a lot about translations, but it was not until I took the elective course Understanding Translation that I really began to enjoy analyzing translations, and in particular make my own translations. At ASB, the focus has been translations of technical and legal texts, but I really enjoy literary translations because literary texts have so many wonderful facets and descriptions that can be quite problematic for the translator. I love hunting for solutions to these problems. That is why I have chosen to work with translation studies in this project report. I want to do an introspective analysis with a specific focus on translation problems, macrostrategies, and microstrategies. I want to answer the following questions: Which is the most appropriate macrostrategy for this particular translation job? What kind of translation problems did I encounter? Which microstrategies did I use to solve these problems? Was one strategy applied more often than others? Due to time and page limitations, I have chosen to translate only a short section of a novel, but I have tried to find a section that gives as many examples as possible of potential translation problems. For a couple of years now, my favorite author has been Geraldine O Neill. I was travelling in New Zealand, and, by chance, I found one of her books in a book exchange at a hostel. I read the book quicker than I have ever read any other book, and was very pleased when I discovered that the book was the first in a trilogy. Since this first book, I have bought and read six of her other books and absolutely love them. O Neill s way of describing the surroundings really captures me. All her books take place in or around Ireland in the s. Often in her books, I have come across words or phrases I have never before heard, and I have found it interesting and educational to look up unknown words. Most often, they are words that describe a phenomenon specific to Ireland or this period of time. According to the Danish database that keeps record of all publications in Denmark (bibliotek.dk), none of her books have yet been translated into Danish. That is why I thought I would give it a go. I have chosen O Neill s novel Cara Gayle from 2008, because I loved it, and because I believe it contains several interesting translation problems. This project report will start with a section that will describe and explain literary translation. Next, I will give a short summary of the book and a more detailed recount of the part I chose to translate. Then, I will discuss my method, and in the section called Theories, I will present definitions and examples of translation problems, macrostrategies, and microstrategies. Then, my introspective analysis focuses on the source text, the target text, macrostrategy and microstrategies. Last in my report is a discussion of my findings and a Side 3 af 48

5 final conclusion. Due to the page limitations, I have decided to use throughout the text the following abbreviations: source text (ST) and target text (TT). 2. Literary Translation At ASB, I have learned how to make translations of legal and technical texts, but doing a translation of a literary text is something quite different. This section of my report gives a better understanding of what literary translation really is. Literary Studies and Translation Studies are two separate academic fields. Literary translation can be seen as a category in either field of study. In the field of Translation Studies, literary translations have always been a big category on its own, though, in the field of Literary Studies, literary translations are not a widely discussed subject (Delabastita 2010: ). Perhaps it is because the literary translator tries to be as invisible as possible. Iben Hasselbalch, a professional translator of Spanish literature, looks at literary translation as a window: it should give the reader a chance to see into another world through a glass as transparent as possible. Even the finest glass will always cast a shadow, and the translator s work will always be colored by the choices s/he makes (Hasselbalch 1999: 7). Line Reeh explains in her article in Samvirke, December 2001, how a translator of literary texts has to make a choice for every single word s/he translates and it is not all about logic and analysis, it is even more about emotions and intuition. According to Ida Klitgård, literary translation is more subjective and creative than, say, technical translation (Klitgård 2008: 247). A translator should be creative in the choices s/he makes, but should, of course, as with technical translation, be sure that the ST and the TT are as similar as possible according to the intended purpose of the author. What the intended purpose of the author is can be hard to decipher, since a story often has a large number of themes. Most novels have one or two main themes but will have a huge amount of underlying themes or little issues presented in one way or another throughout the text. A main theme for a novel could be forbidden love, and the underlying themes could be as different as religion, World War II, and music. It is important that the translator sees and understands all the themes so that s/he can convey the text as was intended by the author. 3. The Book This section is just to give you a short summary of the book with which I am working. I will present a more in-depth analysis of the book in point 6.1 The Source Text. Geraldine O Neill s book Cara Gayle takes place in 1963 and is about a young Irish schoolteacher named Cara. She and her family are Catholics, and she is a teacher at a local Catholic school. Cara has been married to Oliver for seven years, but she is not happy in Side 4 af 48

6 the marriage. Oliver has been cheating on her from day one and she has just, on the day of their wedding anniversary, found out he has been cheating again. Because of her religion, and because Cara has always done what was right and what was expected of her, she stays with Oliver. Cara and Oliver live in a small Irish community where Cara s family also lives. Her parents, Maggie and Declan, own a shop where Cara s brother, Charles, and her sister, Pauline, work. Pauline has an illegitimate daughter, Bernadette, from a failed romance in England. In the summer of 1963, Cara decides to join her parents on a trip to America to take part in her cousin s wedding and to get away from Oliver. Cara and her parents are staying with Maggie s sister, Jean, and her husband, Bruce. They live in a beautiful home on the bank of Lake Savannah. On the trip to America, Cara meets Thomas, a slow kid, and his father, Jameson Carroll, who also live by the lake. Cara enjoys spending time with Thomas, and she treats him as any other child, something most people at that time would not. Cara and Jameson fall in love and spend most of Cara s time in America together. Because of her family, her religion, and her marriage, Cara is afraid to stay in America with Jameson and Thomas. It is what she really wants, but she ends up joining her parents on the home journey to Ireland - just to find Oliver cheating again. Cara finally leaves Oliver; just to find out she is pregnant with Jameson s child. Cara wrongly thinks that Jameson is back together with his ex-wife, so she does not tell him about leaving Oliver or about the pregnancy. Fortunately, through Jean, Jameson hears about Cara s pregnancy and decides to travel to Ireland to find her. Cara is very surprised when she finds Thomas and Jameson on her doorstep one day, but they all decide to move back to America to spend the rest of their lives together. 3.1 The Translation The section I have decided to translate is the first part of chapter 8. It is one of the first days of Cara and her parents visit in America. The day before, Cara, her parents, and Jean and Bruce went shopping in a nearby town. Cara was shopping by herself for a while when she was approached by a man in a purple and yellow shirt. The man started to follow her and would not leave her alone. Fortunately, Cara bumped into Thomas, whom she had met just briefly the day before, and his father, Jameson Carroll, who then helps Cara get rid of the stalker. This incidence is brought up several times during the conversations in chapter 8. First, Maggie comes to wake up Cara in her bedroom. They sit for a while and talk before they join the others for breakfast in the garden. Then, Thomas shows up and is invited to have pancakes in the kitchen. Meanwhile, Cara questions Jean about the Carroll family. Cara follows Thomas to his house while Maggie and Jean have a heart-to-heart conversation about religion, children, grandchildren, and Oliver. I chose this first part of the chapter because it includes some cultural references that would be interesting in connection with translation problems in an English-Danish translation. Side 5 af 48

7 4. Method I have chosen to do an introspective analysis based on an empirical study of a literary translation. Introspective analysis means that I will be analyzing something I have done myself, in this case my own translation. Empirical study means I will be studying collected data, in this case my analysis of the many translated segments. By choosing to do the project introspectively, I was able to translate and gain useful information and knowledge about the choices I made while I translated. I have attached my translation and analysis in Appendix C. I did this translation by writing down the ST and then dividing it into segments, each segment being approximately equivalent to a sentence. Then, I made my TT by translating each segment into Danish. After having made a few revisions concentrating only on the TT, I analyzed each segment individually, focusing on Nord s translation problems presented in 5.1, and Schjoldager s microstrategies presented in 5.3. I have chosen to present this analysis in my report in section 6. Introspective Analysis. It is based on Anne Schjoldager s Four Point Model for Translation Analysis (see Appendix A). This model is basically a list of questions about the ST, the TT, the macrostrategy, and the microstrategies. 5. Theories This section of the report is to present the theories and models I will be using in my analysis. First is Christiane Nord s categorization of translation problems. Second is a section on macrostrategies based on Anne Schjoldager s analysis questions. Third and last is a presentation of Schjoldager s taxonomy of microstrategies. 5.1 Translation Problems According to Christiane Nord, a translator can have translation difficulties if s/he lacks the skills required for a certain translation job. No matter how good a translator is, s/he will always have problems when translating from English into Danish merely because the two languages are so different (Schjoldager 2008: 174). Nord has set up a model in which she divides different translation problems into categories: pragmatic, cultural, linguistic, and text-specific translation problems. Based on the model on page 175 and the following examples given in Schjoldager s Understanding Translation, I will briefly explain the different categories of problems. Pragmatic translation problems arise because situations in the ST and the TT are different. An example could be an article published in a British newspaper with several words that are specific for the situations (e.g., our Prime minister, this country, the economy). If the article was to be published in a Danish newspaper, the translator should make sure not to translate the terms directly (i.e., vores premierminister, dette Side 6 af 48

8 land, økonomien 1 ) since these terms would refer to the Danish prime minister, Denmark and the Danish economy. The situation has changed and so should this type of reference. Cultural translation problems refer to the differences in conventions (norms) and habits (Schjoldager 2008: 175) between the ST culture and the TT culture. One particular genre is set up and written in a certain way in the ST culture but may have to be very different if the TT conventions are not the same in that specific genre. An example could be how spoken language is often contracted in English-written novels, whereas we in Denmark usually write out every word, even in a dialog. In Harry Potter and the Deathly Hallows a piece of dialog is as follows: Reg, I don t understand Let go, I m not your husband, you ve got to go home! (Rowling 2007a: 220). Whereas the dialog in Danish is spelt out: Reg, jeg forstår det ikke Slip mig, jeg er ikke din mand, du må se at komme hjem! 2 (Rowling 2007b: 234). translation problems occur because of structural differences between the source and target languages (Nord 1997: 66). This could be grammatical differences such as the use of gerunds in English and not in Danish. Text-specific translation problems are as the name indicates, specific for this one text. J.K. Rowling made up a whole new universe in the Harry Potter series and with it came new words such as Muggle, Quidditch, Animagus, and Dementor (Rowling 2007a/b). New words like these are always hard to translate because the translator has to choose either to make up new words in the target language, to keep the original term, or to make an explanation describing the meaning of the original term. On page 265 in Schjoldager s book, Ida Klitgård adds a category: the stylistic translation problems. These are problems in rendering the style in which a ST is written. A writer could choose to use figurative language and metaphors, and it is important that the translator renders these stylistic features as close to the original as possible in order to give the TT reader the same experience with the translation as the ST readers had with the original text. In this project report, though, I have decided not to use this extra translation problem, and base my analysis solely on Nord s categories. It is essential that a translator is able to identify these different translation problems so that s/he knows to be extra careful with what solution is chosen. There are many ways of solving these problems, many strategies from which to choose, these are the microstrategies I will present in section [our Prime minister, this country, the economy] 2 *Reg, I do not understand Let me go, I am not your husband, you have to go home!] Side 7 af 48

9 5.2 Macrostrategies Macro: large and concerning a whole system rather than particular parts of it (Longman 2006: 917). This definition explains very well what a macrostrategy does: a macrostrategy looks at the whole text rather than the different parts of the text (e.g., sentences and words). I have chosen to use the terminology of source-text oriented macrostrategy and target-text oriented macrostrategy, but other scholars have used a different terminology, though the basic meaning is the same. Based on Schjoldager s section 5.1 Some wellknown dichotomies (Schjoldager 2008: 68), I will give a short summary of other scholars categorization. Eugene Nida would categorize the strategies as formal equivalence or dynamic equivalence. According to Nida (Nida 1964/2000: 129), formal equivalence focuses attention on the message itself, in both form and content, whereas dynamic equivalence is centered on the principle of equivalent effect. Peter Newmark uses the categorization of semantic translation and communicative translation. A semantic translation renders, as far as possible, the exact linguistic meaning of the source text, whereas a communicative translation will produce on its readers an effect as close as possible to that obtained on the readers of the original (Newmark 1977/1989: 118). Christiane Nord has yet another approach that is quite similar. She distinguishes between a documentary translation and an instrumental translation. According to Nord, a documentary translation aims at producing a kind of document of what went on between the source-text sender and his/her (source-text) receivers; an instrumental translation aims at producing an instrument for the communication between the source-text speaker/writer and his/her target-text readers/listeners (Nord 1997: 47). Scholars seem to distinguish between two strategies that either focus on the ST form and content, or on the TT and its effect. Nida s formal equivalence, Newmark s semantic translation, and Nord s documentary translation are all what I will be calling ST oriented. While Nida s dynamic equivalence, Newmark s communicative translation, and Nord s instrumental translation have somewhat the same equivalence as a TT-oriented macrostrategy. The translator has to analyze the TT situation in depth to figure out which macrostrategy is appropriate. To help the translator best analyze the situation, Schjoldager has set up three questions (Schjoldager 2008: 71): While translating, are you expected to focus on the form and content of the source text or on the effect of the target text? Are you expected to act as a communicator of somebody else s communication or as a mediator between primary parties? Is your translation to appear as an overt translation or as a covert one? Side 8 af 48

10 Answering these questions will help the translator decide whether to choose a source-text oriented macrostrategy or a target-text oriented macrostrategy. If the translator chooses a ST-oriented strategy, the focus will be mainly on ST form and content; s/he will be communicating somebody else s communication, and s/he will be expected to do an overt translation. A TT-oriented strategy will focus on the effect of the TT, the translator will function as a mediator between two parties, and the translation will be covert. If the translator chooses to focus on the form and content of the ST, s/he will render very closely what was written in the ST. This could entail a lot of direct translation in order to keep the ST form and content. On the contrary, if the translator chooses to focus on the TT effect, s/he will have to adapt the TT to fit the TT situation so TT readers can experience the same effect as the ST readers. As a translator, you might be translating for a third party what was communicated between the addresser and the addressee, or you might work as the mediator between the addresser and the addressee. When you translate a written text for a third party about the communication that went on between the addresser and the addressee, you do it to show the TT readers what was communicated in the ST situation. In that case, the translator will have to stay close to the original text in order to render the ST situation as closely as possible. When the translator acts as a mediator between the addresser and the addressee, s/he will translate a text the addresser had intended for the TT readers. This means that s/he will have to take the target situation into account when translating. Whether a translation is overt or covert depends on the relationship between the text, the sender, and the readers. Basically, a text is overt if the readers know they are reading a translation and if the sender of the ST is a known person to the TT readers. A text is covert if readers neither know nor care that they are reading a translation, and if they do not recognize the original sender (Schjoldager 2008: 31-32). The translator might have some difficulties choosing which strategy best fits the job at hand since literary texts are not just black and white. This distinguishing of ST- and TT-oriented macrostrategies is only a guide and should be seen as a continuum where each macrostrategy is placed at the polar ends. A translation might focus on ST form and content, be overt, but be a meditation between the writer and the TT readers. This would put the translation somewhere between the two poles and make the translation both ST- and TT-oriented. 5.3 Microstrategies As I mentioned briefly in section 5.1, microstrategies are different solutions a translator can choose whenever s/he encounters a translation problem. As opposed to macrostrategies that look on the whole text, microstrategies focus on sentences and words. Many scholars, including Vinay, Darbelnet, Delabastita, and Side 9 af 48

11 Zethsen, have worked with analyses on word and sentence level. Based on and inspired by many of these scholars work, Schjoldager has made a taxonomy of microstrategies (Schjoldager 2008: 89-92) that I will be using in my analysis. The taxonomy lists 12 different approaches of how to solve translation problems (see Appendix B). I will now present and discuss all of these strategies and give examples from my own translation (see Appendix C). Direct Transfer: A translator can choose to transfer a term directly to the TT without doing any changes. Proper nouns, such as names of places and persons, and neologisms are often transferred directly to the TT. An example from my translation could be segments 18 and 19 where Cara, Jameson Carroll, and Maggie in the ST are all transferred directly to the TT. 18 For some reason, Cara found herself self-conscious about calling Jameson Carroll by his name. Af en eller anden grund følte Cara sig for genert til at kalde Jameson Carroll ved navn. 19 Maggie nodded. Maggie nikkede. Calque: A translated segment is analyzed as calque because the ST item has been translated to the TT in a way that sounds unidiomatic or foreign in the TT language. I believe that the Danish sentences 95 and 264 sound rather unidiomatic, the language does not flow the way it should. 95 Even a nice kid like Thomas. Selvom barnet er ligeså flinkt som Thomas. 264 A man likes to prove himself in that way. En mand vil jo gerne vise sig selv på den måde. Direct Translation: A translator translates the words in the ST directly. To use Schjoldager s words, direct translation is a word-for-word translation (see Appendix B). Segments 22 and 240 below are direct translations since all the words are basically translated directly from the ST to the TT. 22 Thank God you re safe, Cara I d die if anything happened to you and so would Oliver Gayle. 240 He sounds a real nice guy, and so full of life. Gudskelov du har det godt, Cara. Jeg ville dø, hvis der skete dig noget og det ville Oliver Gayle også. Han lyder til at være en rigtig flink fyr, og så fuld af liv. Side 10 af 48

12 Oblique Translation: Often, writers use special language features such as wordplays, rhymes, and proverbs in their texts, and these can be hard to understand in the target situation. Instead of translating in a wordfor-word procedure, the translator could make an oblique translation where the translation is a sense-forsense procedure. This way, wordplays and proverbs will make sense for the TT readers. Furthermore, oblique translation is a way to stay close to the ST but still make an idiomatic translation. 228 It doesn t have to be, Jean told her. 187 Oh, well beauty is as beauty does, Maggie stated. Sådan behøver det jo ikke at være, sagde Jean. Ja, men skønhed kommer indefra, konstaterede Maggie. Explicitation: Sometimes information is implicit or written between the lines because the writer knows that it is obvious to the ST readers what is meant, but, maybe in the TT situation, this information is not so obvious. In order to help the TT readers understand this implicit information, a translator can choose to explicate or explain what is meant between the lines. 46 Each person was armed with plates of pancakes and bacon strips, fresh rolls and Danish pastries. 52 Then, further down the lakeside path, a red-headed figure came running into view. Alle bar de fade med amerikanske pandekager og strimler af bacon, friskbagte boller og wienerbrød. Lidt efter, længere nede af den sti der gik hele vejen rundt om søen, kunne de skimte en rødhåret skikkelse komme løbende. Paraphrase: In Schjoldager s words, to paraphrase is to translates rather freely (see Appendix B). The ST meaning is rendered in the TT, just not in a literal or direct way. The translator is more creative in this microstrategy. 233 There s times it s hard to work out what s going on in somebody else s head. 216 A little dote but God love her, she s going to have it hard with no father. Nogle gange er det ret svært at finde ud af, hvad hun tænker. En lille engel. Men selv med Guds hjælp får hun det svært uden en far. Side 11 af 48

13 Condensation: The ST meaning is rendered in a shorter way. Words have been deleted, but the meaning remains. In some cases it is the opposite of explicitation, where implicit information is made explicit. In condensation, explicit information may be made implicit. 112 Jean motioned with her hand for Maggie to keep her voice down. 238 She has a lovely big farmhouse, and she goes short of nothing. Jean gjorde tegn til Maggie om at dæmpe sig. Hun har et dejligt stort hus, og hun mangler aldrig noget. Adaptation: More creative than paraphrasing, adaptation recreates the effect of the ST in the TT so that TT readers will be affected just as the ST readers were. This strategy is often chosen to explain terms that are specific to the ST culture and would, therefore, be unknown in the TT culture. 133 Thomas is very fond of his food, and he doesn t exactly look as though he s fading off the face of the earth, now does he? Thomas kan rigtig godt lide hans mad, og han ligner jo ikke just en, der er ved at svinde ind, gør han? 148 He s a good six-footer. Han er næsten to meter høj. Addition: The translator needs to be careful when using this microstrategy since it adds new meaning to a sentence. In explicitation something is explained, whereas something is added in addition. It is problematic, if the translator infers something that the ST writer did not intend. 37 Cara continued to drink her tea. Cara drak sin te uden at sige noget. 51 Half an hour later, everyone sat full and contented, chatting and looking out over the shimmering lake. En halv time senere sad de alle mætte og tilfredse og snakkede, mens de nød udsigten ud over den glitrende sø. Substitution: A translator can choose to change the meaning of the ST if s/he finds it necessary in order for the TT readers to experience the same effect. If the meaning is changed considerably, the microstrategy is that of substitution. 267 Have you any reason to feel that way about him? Jean asked, realizing she was treading on delicate ground. Jean var klar over, at hun skulle være forsigtig med at udspørge Maggie yderligere, men kunne ikke lade være. Har du nogen grund til at tro, at han bliver det? Side 12 af 48

14 Deletion: When using condensation, the translator translates the ST in a shorter way but still renders the meaning. When the translator uses deletion s/he deletes some of the meaning. The translator should be cautious when using this microstrategy since it does entail a change in what the ST writer intended to say. 32 This holiday, Maggie went on, her curled head nodding earnestly, might be the making of ye both. 49 Cara shook her head, and concentrated on climbing down the wooden steps to the lower part of the garden. Denne ferie, fortsatte Maggie, mens hun nikkede alvorligt, er nok god for jer begge. Cara rystede på hovedet og koncentrerede sig om at gå ned ad trappen til den lavereliggende del af haven. Permutation: The translator decides that a TT will be more idiomatic or will render the ST effect better, if a unit of meaning is translated in a different place in the sentence or text. 80 Her first time making them, and they re the best I ve ever eaten in America. 244 Then, she bent down to smell a rose bush. 245 She picked one of the flowers and twiddled it around in her hands. Det er første gang hun laver dem, men det er de bedste amerikanske pandekager, jeg nogensinde har smagt. Hun bøjede sig ned for at dufte til en rosenbusk. Derefter plukkede hun en af blomsterne og legede lidt med den i hånden. Sometimes, it is hard to decide which microstrategy was applied in the different segments, and often the translator applied more than one strategy to a given segment. Segment 32 is both deletion (Maggie s curled head, and the use of a dialect in ye) and oblique translation when the making of ye both was translated into god for jer begge This holiday, Maggie went on, her curled head nodding earnestly, might be the making of ye both. Denne ferie, fortsatte Maggie, mens hun nikkede alvorligt, er nok god for jer begge. So, one segment can be analyzed as being the product of more than one strategy. In my analysis I might focus on one strategy, while others might focus on a different problem or strategy. 3 [good for you both] Side 13 af 48

15 6. Introspective Analysis In Appendix C, I have presented my translation and my analysis in a rather segmented and divided form. Contrary to Appendix C, this section will present the analysis by answering the research questions outlined in Appendix A. These questions are based on Anne Schjoldager s Four Point Model for Translation Analysis, which was mainly intended for technical and legal texts, but I have made a revised line of research questions which I find interesting in connection with literary translation (see appendix A). The main point in 6.1 is to analyze the ST so that the translator will have the best possible starting point for the translating job at hand. Section 6.2 analyzes the TT situation. Then, section 6.3 will discuss the most appropriate macrostrategy, and section 6.4 will discuss translation problems and microstrategies that were actually found during the analysis (also presented in Appendix C). 6.1 The Source Text In order to make a good translation, a translator must know as much as possible about the ST s/he is translating. S/he must know the author s intentions with the original text so that s/he better can render this to the TT readers. By answering the four questions below, I hope to get a better understanding of the ST and the situation for which it was intended. What is the communicative situation? The sender of the ST is Geraldine O Neill the author of the book. She has undoubtedly had an editor and a publisher that reviewed the book and suggested corrections and changes, but the overall text is O Neill s. When she wrote the book, she must have had a special reader group in mind. I believe the typical reader of an O Neill book is a romantic female with a liking of novels describing old times. The age of the typical reader is harder to determine since I think the reader can be anyone from in her late teens to ninety years old. Cara Gayle is about family life, travelling, parents, love, and, not least, life a teen as well as a ninety year old would be able to identify with these subjects. Cara Gayle was published in 2008 as a paperback novel. What is the communicative purpose of the text? There could be many reasons for an author to choose to write a certain book. I believe that some of O Neill s reasons for writing Cara Gayle were to entertain her readers, to tell a good story she had been making up in her imagination, and, perhaps, to teach the younger generation about Ireland, America, family life, and religion in the 1960 s. For older readers, it might be a welcoming retrospect of their own life back then. Side 14 af 48

16 What is the genre? Cara Gayle is a 518-page paperback. It is a story, in chronological order, about a series of events happening to several made-up characters. The Longman Exam Dictionary defines a novel as: a long written story in which the characters and events are usually imaginary. This all fits to Cara Gayle. A closer look will reveal that the main theme of the book is love, and I would then characterize the book as a romantic novel. Why is this text interesting in connection with translation? The text is interesting in connection with translation for several reasons. Firstly, the book received good reviews when it was published in the original language. The romantic storyline is something with which all women, English or Danish, would be able to identify, so, I believe that a Danish publishing company would be able to make a profit on the book in Denmark. Secondly, the book would be interesting for a translator as well, since it has several references that are either culturally or historically related. This makes it a challenge for the translator since these terms are often hard to translate into another language and culture. Thirdly, the book would be interesting for Danish readers, since it will give them a chance to experience how the American and Irish societies were back in the 1960 s. The book was first published as a small, but rather thick, paperback novel. By using the paperback format, the publisher took into account that many people like to read while travelling. Preferably, the Danish publishers should remember and copy this when publishing the novel in Denmark. The translator should be aware of the different purposes the author might have intended. The translator needs to render all of these underlying themes, as I mentioned in section 2 about literary translation. The genre should, of course, not change. Maybe translators could look at other romantic novels so that the specific features of that particular genre could be rendered as would be appropriate by TT conventions. Furthermore, the translator will need to have some knowledge of Irish and American cultures and have knowledge about this time period. The book takes place in 1963, and this is reflected in the way they speak. It is important that the translator keeps this tone and writes the Danish version in a similar old-fashioned tone. The translator should also focus on terms that are culturally specific for the ST country. The translator has to make sure that these terms would be understood by the TT readers. Otherwise, s/he needs to make an explanation, rephrase, or maybe even delete these terms. It is up to the translator to decide what solution best fits the specific translation problem. 6.2 The Target Text The translator s end product is the TT. This TT is the final destination of a long process of analyzing and selecting. In order to be able to select the best possible solutions, the translator must know as much as possible about the TT. To make the translation job as real-life as possible, I have decided to pretend that I Side 15 af 48

17 am a professional translator who has been asked by a publishing company to translate Cara Gayle, an English written novel, into Danish. The novel is to hit the Danish market in a year as a paperback novel. What is the purpose of the translation? The purpose of doing this translation is to give the Danish readers of romantic novels the chance to read a book that has been a success in Great Britain and is seen by the Danish publishing company as having the potential of making a profit. The commissioner of the translation is the Danish publishing company that will make a profit if the book sells in Denmark, and will be the company that pays me for the job I have done. Who is the translator? In this case, the translator is a professional translator, doing translations for a living. I was asked to do the job because I have the relevant education, experience in translating romantic novels, and special knowledge about America and Ireland. It is important that the person the publishing company hires is someone who does the job with a minimum of mistake since this will save them time and money in the revision process. I will be paid by the publisher, either per page, per character, or per hour. Who are the intended target-text readers? The TT readers are the people who buy the Danish book. This will most likely be the same type of person who would buy the book in its original language: women age 16-90, cf Most of the women in this age group will have at least a minimum of English proficiency and will understand everything, even though proper nouns (e.g., names of people and places) are not translated. Besides having the potential of earning the publishing company some money, the TT will need to have the same purpose as the ST, namely, to entertain and teach about Ireland, America, and the 1960 s. The translator should, therefore, make sure to have or acquire some knowledge of these subjects. Danish readers will know from the cover or from the title page of the book, and from the directly transferred proper nouns, that they are about to read a translation. This will normally call for an overt translation, but I will elaborate further on this in the next section about the macrostrategy. 6.3 Macrostrategy As I have mentioned in section 5.2, a macrostrategy is an overall approach the translator has chosen for his or her translation. I will build on the imaginary story about me being a professional translator commissioned by a Danish publishing company. I will answer the questions mentioned in section 5.2 about the focus, the role of the translator, and whether the translation is overt or covert. Side 16 af 48

18 Should the translator focus on the source-text form and content or on the target-text effect? Some readers might have heard about O Neill, and they will want to know what was on her mind when she wrote this particular book. Since none of O Neill s novels have yet been published in Denmark, I do not believe this is the case. For most TT readers, O Neill will be an unknown author, and they will want to experience the universe in her story; they will want to experience the same effect as the ST readers did while they were reading the original text. That is why I believe that the translator should focus more on the TT effect than on the specific form and content of the ST. The translator should of course make sure to also focus on getting O Neill s content across so that it is basically the same content the readers will read, whether it being in English or Danish. Should the translator be communicating somebody else s communication or be the mediator between the source-text sender and the target-text receivers? According to my answer above, TT readers want to experience the same effect as the one the ST readers experienced. This would make the translator a communicator of somebody else s communication, namely that of O Neill s communication to her English readers. I do believe, though, that in this case, the translator could be a mediator between O Neill and the TT readers. I analyzed O Neill s purpose as being that of entertaining and teaching about Ireland, America, and the 1960 s; she might want to communicate this to the Danish audience as well. O Neill is still alive and active as a writer; the translator could contact her and ask for advice about the cultural terms, the style in which the story is written, and about names and places and their significance. That way, the translator is a mediator between O Neill and her Danish fans. Should the translation be overt or covert? As I mentioned in section 5.2, the definition of overt and covert are basically whether or not the readers of the TT are aware that they are reading a translation. In this case, the readers are aware, because on the cover or on the title page it will be noted who the translator is. Another indicator of the fact that they are reading a translation could be that the names of people and places are not usual in the TT language. This all calls for an overt translation, but I do not really believe that the readers will care whether the text is a translation. They will want the same experience and the same feelings after they finish the book as the ST readers had. If the readers/listeners are unaware or do not care that they are reading/listening to a translation (Schjoldager 2008: 31), it will call for a covert translation. If both of these viewpoints should be taken into account, the translation should be both overt and covert. I do believe, though, that the translation should be a bit more covert than overt, since the readers will not care about the fact that they are reading a translation. Side 17 af 48

19 Based on the analysis so far, is the appropriate macrostrategy source-text oriented or targettext oriented? I believe that the translator should focus mainly on the TT effect, act as a mediator between O Neill and her Danish readers, and render a translation that is slightly more covert than overt. As defined in 5.2 about macrostrategies, this calls for a target-text oriented macrostrategy. The translator should still have the form and content of the ST in mind, and should be aware that the TT readers will know they are reading a translation, but I do believe that a TT oriented macrostrategy would be appropriate when translating Cara Gayle from English into Danish. 6.4 Microstrategies As mentioned earlier, microstrategies are possible solutions to the different translation problems the translator might encounter. In order to give a better outlook on the microstrategies I chose in my translation, I will answer the questions presented in Appendix A. Since microstrategies are primarily interesting as solutions to translation problems, I am going to base this section solely on the segments in which I discovered a translation problem. So, for each interesting translation problem, I will answer the following questions: Which microstrategies could be used to solve the problem? Which microstrategy was used in this particular segment? Why was this microstrategy appropriate? Pragmatic translation problems I have found four examples of pragmatic translation problems in my text. These problems occur because of differences in the source and target situations (Nord 1997: 65). Microstrategies that I would find appropriate include oblique translation, adaptation, and paraphrasing because these microstrategies rephrase the ST so that the TT readers will understand better. Explicitation could also be used to make implicit information explicit and give TT readers a better understanding. If none of these solutions are adequate, the translator could choose to use deletion where the problematic ST item is not translated at all. For each of the pragmatic translation problems in my translation, I have chosen a different microstrategy. The English word Yanks is a term often used in a negative way about Americans. In segment 9, I chose to translate this in a direct way and just translate it with the Danish word for American. Though, by doing this, I omit the negative connotation. I did add jo 4 in the TT which I believe in some ways connotes a negativity, but not in quite the same extent as Yanks does in English. I believe this was an appropriate microstrategy, since only a small part of the meaning is left out. 9 You know the Yanks. Du kender jo amerikanerne. Pragmatic /Deletion 4 [You do know the Americans] Side 18 af 48

20 In segment 46, I decided that the Danish word pandekager 5 is not quite equivalent to the English, or in this case American, word for pancakes. That is why I chose to use explicitation and explain to the TT reader what kind of pancakes they were carrying. The rest of the sentence is translated using oblique translation, rendering the sense of what was written in the ST. 46 Each person was armed with plates of pancakes and bacon strips, fresh rolls and Danish pastries. Alle bar de fade med amerikanske pandekager og strimler af bacon, friskbagte boller og wienerbrød. Pragmatic Explicitation/ As with segment 46, pandekager 6 is just not the same as the American pancakes to which they are referring in the story. In segment 80, I chose to translate in an oblique way and make the part about eating them in America into an adjective that explains what kind of pancakes they are. Translating something in a different place is categorized as permutation. 80 Her first time making them, and they re the best I ve ever eaten in America. Det er første gang hun laver dem, men det er de bedste amerikanske pandekager, jeg nogensinde har smagt. /Pragmatic / Permutation In Denmark, we use meters not feet when referring to a person s height. To make the Danish readers understand, I had to adapt the text for the TT situation. I converted the feet to an approximate equivalent, namely two meters. Applying this microstrategy makes it easier for the TT readers to understand. 148 He s a good six-footer. Han er næsten to meter høj. Pragmatic Adaptation In these examples, all the ST and TT situations are considerably different. Even though they are, however, similar in problem, the solutions are very different. I chose deletion, explicitation, permutation, oblique translation, and adaptation. By choosing as I did, I attempted to help TT readers experience the same effect of the text as the ST readers did. Cultural translation problems I have 19 examples of cultural translation problems in my translation. These problems occur because of differences between source-culture conventions (norms) and habits and those of the target culture (Nord 1997: 66). I believe, as with pragmatic translation problems, that oblique translation, paraphrase, and ad- 5 [pancakes] 6 [pancakes] Side 19 af 48

21 aptation are appropriate microstrategies because they rephrase the ST in a way that better fits with TT conventions. Permutation could be appropriate if the specific ST item could be moved and translated in another sentence or section of the TT. Two of the nineteen cultural translation problems are because of very short sentences. I decided that the Danish sentence was too staccato; the sentences were cut short, so I decided to combine them with the previous sentences. The rest of the cultural translation problems are problematic because of the use of the dash. In English, the dash is most often used to separate an embedded comment or explanation from the rest of the clause (Andersen 2006: 216). In my translation I found it unidiomatic to keep the dash in the TT. In the two examples below, segment and 86-87, I have analyzed the microstrategy as condensation, since I translate the ST in a rather shorter way when removing the full stop. I believe this microstrategy was appropriate because the TT otherwise would have been harder to read. It might have been a stylistic feature the author thought fit, but I, as the translator, did not feel the TT was living up to TT norms. 65 Then, satisfied with his impact, Thomas sat down heavily in one of the empty deckchairs. Da Thomas var tilfreds med deres reaktion, satte han sig tungt ned i en af de tomme liggestole 66 He turned to Cara. og vendte sig mod Cara. Cultural Condensation 86 What do you think, she said, about me going over to see Thomas medals? Hvad synes du om, at jeg går over og ser Thomas medaljer? spurgte hun 87 She pulled a face. og skar en grimasse. Cultural Condensation In 12 segments, I used oblique translation to solve the problems. In 4 segments, (including segment 149) I inserted a comma. In 7 segments, (including 229) I inserted a full stop. In 1 segment, (segment 157) I did not add any new form for punctuation but wrote out the sentence in words. 149 Yes but so was the weird fellow! Cara said. 229 The thoughts in your own head can be the same wherever you are it s up to you. 157 Those pancakes swell! he said. Ja, men det var den ubehagelige mand også! sagde Cara. De tanker du har i dit hoved, kan være de samme, uanset hvor i verden du er. Det er helt op til dig selv. De pandekager var perfekte! sagde han. Cultural Cultural Cultural Side 20 af 48

22 In 4 of the 17 segments, I applied the microstrategy of paraphrasing. In segment 156, I added commas. In segment 216, I replaced the dash with a full stop, and in 2 segments, including segment 225, I rewrote the sentence with no added punctuation. 156 Then, they heard the scrape of Thomas s chair as he got up from the table, and the three women all rushed back into the kitchen Cara grateful for the diversion. 216 A little dote but God love her, she s going to have it hard with no father. 225 Even all the religion thing with Bruce it doesn t bother me. Netop da hørte de lyden af Thomas stol, der blev skubbet ud fra bordet. Maggie, Jean og Cara, der var glad for at samtalen blev afbrudt, skyndte sig tilbage til køkkenet. En lille engel. Men selv med Guds hjælp får hun det svært uden en far. Selv det med Bruce og hans religion generer mig ikke, når jeg er her. Cultural Paraphrase Cultural/ Paraphrase Cultural Paraphrase/Direct transfer The last of the cultural translation problems was solved using direct translation; I removed the dash, yet every word was translated in a word-for-word procedure. 248 She found it hard to understand this sister of hers who could lie awake regretting the birth of the only grandchild she had 249 and yet say everything would be fine if only Cara gave her a grandchild. Hun havde svært ved helt at forstå denne søster, der kunne ligge vågen om natten og begræde fødslen af sit eneste barnebarn, og så alligevel sige at alt ville være fint, hvis bare Cara gav hende et barnebarn. Cultural For the cultural translation problems, I used condensation, oblique translation, paraphrasing, and direct translation as microstrategies. I thought that adaptation and permutation would have been appropriate microstrategies, but I found examples of condensation and direct translation in my analysis of cultural translation problems. translation problems In this section of the report, I am going to focus on the linguistic difference between English and Danish in regard to the use of gerunds. I found exactly 58 examples that contain this type of translation problem. To solve this particular translation problem, I would expect only oblique translation, adaptation, and paraphrasing because these are the microstrategies that rephrase the ST to make it more appropriate for the TT situation, conventions, and readers. Side 21 af 48

23 The three segments below were all translated using paraphrasing: segment 1 with a past tense, segment 7 with og satte sig 7 in Danish, and segment 78 is written in a freer translation. Some might argue that they are oblique translations, but I believe they are more freely translated than just oblique translation. Of the 58 examples, 11 are translated using paraphrasing, either by using past tense, by adding og 8 and a past tense verb, or by rephrasing the sentence. 1 The following morning Cara woke up to the sound of her mother knocking on the bedroom door. 7 Me, Maggie said, sitting down on the bottom of the bed. 78 I ll make him some right now. A growing lad like that needs a good breakfast. Næste morgen vågnede Cara, ved at hendes mor bankede på døren til soveværelset. Det gør jeg, sagde Maggie og satte sig i fodenden af sengen. Jeg går ind og laver nogle med det samme. En dreng i den alder har jo brug for en ordentlig omgang morgenmad. Paraphrase Paraphrase Paraphrase The next three examples, segments , are also linguistic problems since some words in the sentences are written in gerund. In all three examples, I chose to solve the problem using adaptation where I recreate the effect of the ST in different words. Instead of joking I wrote sagde hun med et smil på læben 9, which I believe recreates the effect. Instead of the three full stops in segment 3, I decided that making a full stop and starting a new sentence would be more idiomatic in Danish. Segment 11 includes two gerunds: checking and learning. The first part of the sentence is adaptation since I rephrase and, hopefully, achieved the same effect. The second part of the sentence was paraphrased, that is, I translated the sentence in a rather free way. I found that these solutions were the most appropriate. 2 Come on, lazybones, she joked, coming into the room with a cup of tea for Cara. 3 We re eating outside this morning you wouldn t believe the heat already. Kom nu, sovetryne, sagde hun med et smil på læben og gik hen til Cara med en kop te. Vi spiser udenfor i dag. Bare vent til du mærker, hvor varmt det allerede er. Adaptation Adaptation 7 [and sat down] 8 [and] 9 [she said with a smile on her lips] Side 22 af 48

24 11 Anyway she absentmindedly ran a hand over the blanket, checking what material it was made out of, there s no harm in learning how to cook different things. Men altså Af gammel vane lod hun en hånd glide hen over sengetæppet for at mærke, hvilket materiale det var lavet af, det er vel heller ingen skade til at lære at lave nye ting i køkkenet. Adaptation/Paraphrase Segment 267 has changed more than just a bit, and I would analyze it as substitution. This segment is the only one of the 272 segments in the translation that is analyzed as substitution. I have analyzed it as such because I find the meaning of this sentence has changed considerably, though, looking at the entire section, the meaning is hopefully the same in the ST and TT. 267 Have you any reason to feel that way about him? Jean asked, realizing she was treading on delicate ground. Jean var klar over, at hun skulle være forsigtig med at udspørge Maggie yderligere, men kunne ikke lade være. Har du nogen grund til at tro, at han bliver det? Substitution Segment 61 was translated using the condensation microstrategy. I believe the meaning in the ST sentence is basically the same as the one in the TT sentence. I removed from one to the other, but translated grinning in the past tense in the TT. I believe it gives a better sentence in Danish, one that is more fluent than would be for example: og grinede fra den ene til den anden 10. I was not able to rephrase the sentence without making it sound idiomatic, so I decided to remove the part I could not fit into the target sentence. The meaning is essentially the same; it is just written in a shorter way. 61 Thomas nodded vigorously, grinning from one to the other, delighted with the attention. Thomas nikkede ivrigt og grinede, glad over at få så meget opmærksomhed. Condensation I have found 43 examples of linguistic translation problems that have been solved using oblique translation. I will give a few examples of the more important ones. The first two segments, 17+41, show how the Danish idet 11 can be used to express the gerund. In the next two examples, 32+67, mens 12 is used to express the 10 [and laughed from one to the other] 11 [as] 12 [while] Side 23 af 48

25 gerund. All four examples express an action that is done while the character is either saying or doing something else. In English, this is expressed with the gerund, while in Danish with the words idet 13 or (i)mens I m grand now, she said quietly, putting the cup of tea down on the little bedside locker, but I was really frightened by the time I met up with Thomas and his father. 41 Sure we ve plenty of time left, she said, standing up now. 32 This holiday, Maggie went on, her curled head nodding earnestly, might be the making of ye both. 67 You! he said, running a stubby hand though his damp red hair. Jeg har det fint nu, sagde hun stille, idet hun satte tekoppen fra sig på det lille natbord, men jeg var virkelig bange, indtil jeg mødte Thomas og hans far. Jamen, vi har jo også masser af tid tilbage, sagde hun, idet hun rejste sig. Denne ferie, fortsatte Maggie, mens hun nikkede alvorligt, er nok god for jer begge. Du! sagde han, mens han kørte en buttet hånd igennem sit røde fugtige hår. /Text-specific / Deletion /Text-specific Segments 32 and 67 above have both been analyzed as containing a linguistic translation problem and a text-specific translation problem. Many other segments have been analyzed as having two problems and either one or two solutions. Some segments might only have one problem but two solutions. The problem with the gerund can be solved in other ways too: by using an infinitive verb as in segment 49, by using the Danish future tense as in segment 8, by using the past tense as in segment 242, or by using the present tense as in segment Cara shook her head, and concentrated on climbing down the wooden steps to the lower part of the garden. 8 I m trying my hand at the pancakes this morning just to keep Jean happy. 242 Oh indeed, Maggie said, cheering up now. 13 [as] 14 [(mean)while] Cara rystede på hovedet og koncentrerede sig om at gå ned ad trappen til den lavereliggende del af haven. Jeg vil forsøge at lave de der pandekager i dag. Det er egentlig bare for at gøre Jean glad. Ja bestemt, sagde Maggie og blev i bedre humør. Deletion/ Side 24 af 48

26 246 The only thing missing from Cara s life is a child. Det eneste Cara virkelig mangler er et barn. really opens up many solutions, and, since the gerund can express various actions and situations, the solutions that are chosen for the Danish TT are diverse. I expected only adaptation, paraphrasing and oblique translations as possible microstrategies in linguistic translation problems. In my translation, though, I found substitution and condensation as well. I did find only one example of each, but it proves that the linguistic translation problems can be solved in many ways, not just by using the obvious microstrategies. Text-specific translation problems I have found six different translation problems that I would characterize as being text specific. They are all problems that occur only in this text and the translator should, above all, take the ST situation into account to understand the exact use of the different terms. Again, oblique translation, paraphrasing, and adaptation are obvious microstrategies since they make the ST item appropriate for the TT. Explicitation could be used to explain the specific ST item so that the TT readers would understand the reference. Substitution is when the meaning changes; this microstrategy could also be used but only as a last option since the author s intentions with the text could be changed unnecessarily. The translator could also choose to use direct transfer; this way, the ST item is simply transferred to the TT with no alterations. In this first example, (segment 32) O Neill reminds the reader that Maggie is speaking with an Irish accent by spelling the word you as ye. In my Danish translation, I decided to delete this reference and simply write the word in its correct spelling. This way I omit a, probably important, piece of meaning, but I found it hard to write the dialog with a Danish dialect, since that might confuse the reader. I do believe that it is important to the story that Maggie, Declan and Cara speak with an Irish accent. I know that I could have added she said with an Irish accent, but I decided that this particular language reference would be translated or added later in the story. 32 This holiday, Maggie went on, her curled head nodding earnestly, might be the making of ye both. Denne ferie, fortsatte Maggie, mens hun nikkede alvorligt, er nok god for jer begge. /Text-specific / Deletion Segment 67 contains a spelling mistake in the ST. It is obviously a typo, but since the misspelled word through, is actually a word in itself, though, I decided that this was a text-specific translation problem, since this type of error hopefully does not occur in many texts. I chose to correct the mistake and use oblique translation to render the entire segment. Side 25 af 48

27 67 You! he said, running a stubby hand though his damp red hair. Du! sagde han, mens han kørte en buttet hånd igennem sit røde fugtige hår. /Text-specific This next text-specific translation problem occurred in two segments, 98 and 163. It is the word honey that I believe can be characterized as a problem in regard to translation. A direct translation would probably be skat 15, but in this case it is Jean speaking to Cara, an aunt speaking to her niece. I believe that skat is a rather romantic nickname, and I would not be surprised to find it in a Danish text between two people who are romantically involved. I do know, though, that in America, this term is often used between friends and sometimes even between two people who do not know each other. In both segments, I chose the Danish word ven 16 because I felt that would be more acceptable in the TT culture. 98 Honey, Jean said, raising her eyebrows, your guess is as good as mine. 163 You might as well go now, honey because we don t know what the rest of the day might bring. Jeg har ingen anelse, ven, sagde Jean med løftede øjenbryn. Du kan ligeså godt gå med nu, ven, for vi ved ikke, hvad resten af dagen byder på. Text-specific Text-specific The translation problem in segment 138 is somewhat similar to the two previous ones. Since a lucky girl is a remark spoken to Cara, who is in her mid-twenties, I would argue that pige 17 is not the right word to use in the TT culture. That is why I chose condensation and simply translated the meaning, being lucky, in a shorter way. 138 Weren t you a lucky girl yesterday, meeting Thomas and his dad? Jean said, changing the subject. Var du ikke bare heldig, at du mødte Thomas og hans far i går? sagde Jean og skiftede emne. Text-specific/ Condensation/ The last example is segment 199 that includes the word Gaeilge which is the Gaelic word for Gaelic. I found it wrong to make a direct transfer and keep the word, even though the author must have had a reason to leave the word in Gaelic in the English ST. I decided to use explicitation and write gæliske ordforråd 18 ; I felt that was the solution that would stay closest to the ST form and still keep the meaning. 15 [honey] 16 [friend] 17 [girl] 18 [Gaelic vocabulary] Side 26 af 48

28 199 My Gaeilge was never the best. Mit gæliske ordforråd har aldrig været særligt stort. Text-specific Explicitation To solve the text-specific translation problems, I used deletion, oblique translation and explicitation. Using deletion is definitely not ideal, but had I translated more of the text, I am sure I would have been able to render the fact that they are speaking with an accent somewhere else in the text; then the segment could have been analyzed as permutation. Conclusion I translated and analyzed 272 segments. Of these 272 segments, 80 were analyzed as containing a translation problem; some segments had two problems and two solutions, and some segments had one problem but two solutions. Of the 18 expected solutions (5 for pragmatic, 4 for cultural, 3 for linguistic, and 6 for text-specific translation problems), I was wrong in 12 instances; either because the expected microstrategy was not used, or because I used a microstrategy I had not expected. With 136 cases of oblique translation, this is the microstrategy I used the most. is next with 84 examples. Paraphrasing was used 28 times, explicitation 13, adaptation 11, and condensation 10 times. Deletion and direct transfer were each used 4 times, while addition and permutation were used 3 times, calque twice, and substitution only once. I had expected numerous oblique translations, but, on an overall basis, I had expected the translation to contain more paraphrasing, adaptation, and explicitation. I had expected that the English ST and the Danish TT would have had more problems that were best fixed with rephrasing or explaining, but, apparently, the text had more segments that were best translated using direct translation. Also, I had expected more than just four pragmatic translation problems since I believe the source and target situations are very different. The ST was intended for English-speaking readers, while the TT is for Danish-speaking readers. Furthermore, the story takes place in Ireland and the United States in 1963, but the TT will be read in the 21 st century in Denmark. I expected that factors such as these would have caused more pragmatic translation problems. In section 6.3, I concluded that the translator should focus mainly on the TT effect, act as a mediator between O Neill and her Danish readers, and render a translation that is slightly more covert than overt. The overall macrostrategy is then TT oriented. This strategy is, as mentioned above, an overall strategy for the entire text and should be seen as a guideline and not a rule. I am convinced that I have understood and used the models and definitions appropriately, but I do know that others might use them differently and might analyze the segments in a different way than I have. Furthermore, it is an introspective analysis; I am analyzing a translation I did myself. This will undoubtedly Side 27 af 48

29 make my analysis biased and not entirely objective. Still, I do believe that some important and valid findings have come out of this project: oblique and direct translations are used for the majority of the translated segments in my literary translation. Side 28 af 48

30 References Andersen 2006: Andersen, Birger. (2006). Basic English Grammar, 2. Udgave. Frederiksberg C: Forlaget Samfundslitteratur. Bibliotek.dk: Database for all Danish Libraries. Retrieved on March 22, Delabastita 2010: Hasselbalch 1999: Klitgård 2008: Landers 2001: Longman 2006: Newmark 1977/1989: Nida 1964/2000: Nord 1997: O Neill 2009: Delabastita, Dirk. (2010). Literary studies and translation studies in Gambier, Yves & van Doorslaer, Luc (eds.) Handbook of translation studies Volume 1 ( ). Amsterdam: John Benjamins Publishing Company. Hasselbalch, Iben (red.) (1999). Glas Kaster Skygge om litterær oversættelse. København: Gyldendal. Klitgård, Ida. (2008). Literary Translation in Schjoldager, Anne Understanding Translation. Aarhus/Copenhagen: Academica. Landers, Clifford E. (2001). Literary Translation. A Practical Guide. Clevedon: Multilingual Matters Ltd. Longman. (2006). Exams Dictionary Your key to exam success. Harlow: Pearson Education Limited. Newmark, Peter. (1989). Communicative and semantic translation in Chesterman, Andrew (ed.) Readings in Translation Theory ( ). Oy Finn Lectura Ab. Nida, Eugene. (2000). Principles of correspondence in Venuti, Lawrence (ed.) The Translation Studies Reader ( ). London/New York: Routledge. Nord, Christiane. (1997). Translating as a Purposeful Activity [Translation Theories Explained]. Manchester: St. Jerome. O Neill, Geraldine. (2009). Cara Gayle. London: Orion Books Ltd. Reeh 2001: Reeh, Line. (2001). Kunsten at oversætte. Samvirke. Vol. 74, no. 1, pp Rowling 2007a: Rowling 2007b: Schjoldager 2008: Schjoldager Handout: Rowling, J.K. (2007). Harry Potter and the Deathly Hallows. London: Bloomsbury Publishing Plc. Rowling, J.K. (2007). Harry Potter og Dødsregalierne. København: Gyldendal. Schjoldager, Anne with Gottlieb, Henrik & Klitgård, Ida. (2008). Understanding Translation. Aarhus/Copenhagen: Academica. Schjoldager, Anne. Handout from the elective course Understanding Translation. Spring Side 29 af 48

31 Appendices Appendix A Anne Schjoldager made her Four-point model for translation analysis (Schjoldager Handout) as a guideline for analysis of technical texts. Since I am analyzing a literary text, I have revised the model and only listed the questions I found relevant. The source text 1. What is the communicative situation? a. Who is the author? b. Who are the intended readers? c. How was the text published? 2. What is the communicative purpose of the text? a. Why was the text written? 3. What is the genre? a. In what ways is the text similar to other texts? 4. Why is this text interesting in connection with translation? The target text a. Should the translator possess knowledge of a certain subject? b. Are there any specific features the translator should focus on? 1. What is the purpose of the translation? a. Who commissioned the translation? b. Where and how is it to be published? 2. Who is the translator? a. Is it a professional translation? 3. Who are the intended target-text readers? Macrostrategy a. Will the target-text readers know they are reading a translation? b. Will they care? c. Will this influence the translator s choices? 1. Should the translator focus on the source-text form and content or on the target-text effect? Side 30 af 48

32 2. Should the translator be communicating somebody else s communication, be the mediator between the source-text sender and the target-text receivers? 3. Should the translation be overt or covert? 4. Based on the analysis so far, is the appropriate macrostrategy source-text oriented or targettext oriented? Microstrategies 1. What are some of the interesting translation problems? 2. Which microstrategies could be used to solve the problems? 3. Which microstrategies were used in this particular translation job? 4. Why were those microstrategies appropriate? Side 31 af 48

33 Appendix B Anne Schjoldager s taxonomy of microstrategies, page 92, in Understanding Translation, 2008: Direct transfer: Calque: : : Explicitation: Paraphrase: Condensation: Adaptation: Addition: Substitution: Deletion: Permutation: Transfers something unchanged. Transfers the structure or makes a very close translation. Translates in a word-for-word procedure. Translates in a sense-for-sense procedure. Makes implicit information explicit. Translates rather freely. Translates in a shorter way, which may involve implicitation (making explicit information implicit). Recreates the effect, entirely or partially. Adds a unit of meaning. Changes the meaning. Leaves out a unit of meaning. Translates in a different place. Side 32 af 48

34 Appendix C Cara Gayle by Geraldine O Niell Abstract from Chapter 8, page Segment Source Text Target Text Translation Problem / Microstrategy A Chapter 8 Kapitel 8 1 The following morning Cara woke up to the sound of her mother knocking on the bedroom door. 2 Come on, lazybones, she joked, coming into the room with a cup of tea for Cara. 3 We re eating outside this morning you wouldn t believe the heat already. 4 Jean said we might find it too hot later on, so we thought we might make the best of the morning while the heat is still comfortable. 5 Cara sat up in bed, delighted to see her mother in such good form. 6 Who s the chef this morning? she joked. 7 Me, Maggie said, sitting down on the bottom of the bed. 8 I m trying my hand at the pancakes this morning just to keep Jean happy. Næste morgen vågnede Cara, ved at hendes mor bankede på døren til soveværelset. Kom nu, sovetryne, sagde hun med et smil på læben og gik hen til Cara med en kop te. Vi spiser udenfor i dag. Bare vent til du mærker, hvor varmt det allerede er. Jean siger, at det nok bliver for varmt senere, så vi er blevet enige om at nyde det gode vejr her til morgen i stedet. Cara satte sig op i sengen, glad for at se sin mor i så godt humør. Hvem laver så maden i dag? spurgte hun for sjov. Det gør jeg, sagde Maggie og satte sig i fodenden af sengen. Jeg vil forsøge at lave de der pandekager i dag. Det er egentlig bare for at gøre Jean glad. Paraphrase Adaptation Adaptation Stylistic Paraphrase Paraphrase 9 You know the Yanks. Du kender jo amerikanerne. Pragmatic /Deletion 10 They like to make a big issue De kan så godt lide at gøre et out of nothing. stort nummer ud af ingenting. 11 Anyway she absentmindedly ran a hand over the blanket, checking what material it was made out of, there s no harm in learning how to cook different things. Men altså Af gammel vane lod hun en hånd glide hen over sengetæppet for at mærke, hvilket materiale det var lavet af, det er vel heller ingen skade til at lære at lave Adaptation/Paraphrase nye ting i køkkenet. 12 The change is good for us all, Forandringen klæder os alle, Cara said carefully. sagde Cara stille. 13 She took a sip of the hot tea. Hun tog en lille tår af den Side 33 af 48

35 14 Are you okay, Cara? Maggie suddenly asked, her face creased in concern. 15 Did you get an awful fright yesterday? 16 Cara shrugged, and tucked one wing of her blonde hair behind her ear. 17 I m grand now, she said quietly, putting the cup of tea down on the little bedside locker, but I was really frightened by the time I met up with Thomas and his father. 18 For some reason, Cara found herself self-conscious about calling Jameson Carroll by his name. An introspective analysis of a literary translation varme te. Er der noget i vejen, Cara? spurgte Maggie pludselig med en bekymret mine. Blev du slemt forskrækket i går? Cara trak på skuldrene og puttede en tot af sit blonde hår bag øret. Jeg har det fint nu, sagde hun stille, idet hun satte tekoppen fra sig på det lille natbord, men jeg var virkelig bange, indtil jeg mødte Thomas og hans far. Af en eller anden grund følte Cara sig for genert til at kalde Jameson Carroll ved navn. /Direct translation /Direct transfer 19 Maggie nodded. Maggie nikkede. Direct transfer/direct translation 20 Thanks be to God you did meet them, she said, her voice croaky. Gud ske tak og lov, at du mødte dem, sagde hun med bæven i stemmen. 21 Then, she suddenly moved up on the bed, and, in a most uncustomary gesture of affection, she gently put her arms around Cara s neck. 22 Thank God you re safe, Cara I d die if anything happened to you and so would Oliver Gayle. Pludselig rykkede hun nærmere Cara, og med en højst usædvanlig form for ømhed lagde hun forsigtigt armene om Caras hals. Gudskelov du har det godt, Cara. Jeg ville dø, hvis der skete dig noget og det ville Oliver Gayle også. 23 Then, she lowered her head and kissed Cara on the cheek. Netop da bøjede hun hovedet og gav Cara et kys på kinden. 24 Honestly, Mammy, I m fine. Jeg har det fint, mor. Det lover jeg. 25 Cara was almost breathless Cara var næsten åndeløs af with shock. forbavselse. 26 Maggie sat back on the bed Maggie rettede sig op og tog now, and took Cara by the Caras hånd i sin. hand. 27 I know he has his faults, she said, but he s not the worst he doesn t keep you short of anything. 28 And though you might not think it, she rushed on now, I m Jeg ved han har sine fejl, sagde hun, men han er ikke den værste han sørger altid for, at du aldrig mangler noget. Og selvom du måske ikke tror det, fortsatte hun hurtigt, er Paraphrase/ Deletion/ /Oblique translation /Oblique translation Side 34 af 48

36 sure underneath it all, that he worships the ground you walk on. 29 Cara picked her teacup up again and said nothing. An introspective analysis of a literary translation jeg sikker på, at han inderst inde forguder dig. Cara rakte ud efter sin tekop uden at sige noget. 30 What was there to say? Hvad kunne hun sige? 31 What man who supposedly worshipped the ground his wife walked on would behave like an old tom-cat? Hvilken mand, der eftersigende forgudede sin kone, ville opføre sig som en uforbederlig skørtejæger. Cultural 32 This holiday, Maggie went on, her curled head nodding earnestly, might be the making of ye both. 33 Indeed you ll see when we get back. 34 He ll have missed you, and when he hears what happened to you yesterday, he ll realize that he doesn t want to let you out of his sight. Denne ferie, fortsatte Maggie, mens hun nikkede alvorligt, er nok god for jer begge. Ja, det vil du kunne se, når vi kommer hjem. Han vil have savnet dig, og når han hører, hvad der skete i går, vil han indse, at han aldrig vil slippe dig af syne igen. 35 She nodded away to herself. Hun blev ved med at sidde og nikke lidt for sig selv. 36 A good-looking girl like yourself En pæn pige som dig, og fra and from a decent fami- en ordentlig familie. ly. 37 Cara continued to drink her tea. Cara drak sin te uden at sige noget. 38 Have you got anything to bring Har du fået købt noget, du back to him yet? Maggie continued. kan tage med hjem til ham? fortsatte Maggie. /Text-specific / Deletion Cultural Addition 39 Cara shook her head. Not Cara rystede på hovedet. Ikke yet endnu 40 Maggie brightened up. Maggie lyste op. 41 Sure we ve plenty of time left, she said, standing up now. Jamen, vi har jo også masser af tid tilbage, sagde hun, idet 42 You ll find something nice for him the next day we re out, I m sure. hun rejste sig. Du finder sikkert noget pænt til ham, næste gang vi kommer ind til byen. 43 She patted the bed again now. Hun klappede forsigtigt på sengetæppet igen. 44 Be down in a couple of Kom ned om et par minutter, minutes, and the breakfast will så har vi morgenmaden gjort be ready to take outside. klar til at tage med udenfor. 45 Shortly afterwards, dressed in a cool, pale-blue cotton dress and white sandals, Cara joined the others as they all picked Kort tid efter, klædt i en tynd lyseblå bomuldskjole og hvide sandaler, gik Cara sammen med de andre forsigtigt gen- Explicitation/Permutation Side 35 af 48

37 their steps down the grassy bank to the lake. 46 Each person was armed with plates of pancakes and bacon strips, fresh rolls and Danish pastries. 47 What I d give for a good plate of black pudding, some rashers and decent Irish sausages, Maggie commented to Cara, 48 and I know your father feels the same it s just that he s not confident enough to say it out straight. 49 Cara shook her head, and concentrated on climbing down the wooden steps to the lower part of the garden. 50 She knew that her father was perfectly happy trying out all the different foods, just as she was. 51 Half an hour later, everyone sat full and contented, chatting and looking out over the shimmering lake. 52 Then, further down the lakeside path, a red-headed figure came running into view. An introspective analysis of a literary translation nem haven ned mod søens bred. Alle bar de fade med amerikanske pandekager og strimler af bacon, friskbagte boller og wienerbrød. Hvad jeg dog ikke ville gøre for at få en tallerken fyldt med blodpølse, skinke og ordentlige irske pølser i stedet, sagde Maggie til Cara, og jeg ved, at din far har det på samme måde han tør bare ikke sige det højt. Cara rystede på hovedet og koncentrerede sig om at gå ned ad trappen til den lavereliggende del af haven. Hun vidste, at hendes far var fuldtud tilfreds med at smage de mange forskellige retter, præcis som hun selv var det. En halv time senere sad de alle mætte og tilfredse og snakkede, mens de nød udsigten ud over den glitrende sø. Lidt efter, længere nede af den sti der gik hele vejen rundt om søen, kunne de skimte en rødhåret skikkelse komme løbende. Pragmatic Explicitation/ Deletion/ / Addition Explicitation 58 Don t tell me you ve run all the way around that lake? Jean said, trying to sound as though she were completely shocked. 59 All the way around that lake! Declan exclaimed, sitting up 53 He slowed down as he reached Han sagtnede farten, jo tættere the group. han kom på dem. 54 Hello, buddy! Bruce said. Halløj, kammerat! udbrød Paraphrase Bruce. 55 Come and join us. Kom og sæt dig. Explicitation 56 Thomas stopped and held up a Thomas stoppede op og løftede hand of greeting. en hånd som hilsen. 57 Then, hand on hips, made a great issue of getting his breath back. Derefter, med begge hænder på hofterne, gjorde han et stort nummer ud af at få vej- ret igen. Sig mig, du har da vel ikke løbet hele vejen rundt om søen? sagde Jean og forsøgte at lyde dybt chokeret. Hele vejen rundt om søen! udbrød Declan, idet han satte / Side 36 af 48

38 straight in the deckchair. sig ret op og ned i liggestolen. 60 I don t believe it. Det kan jeg da ikke tro. 61 Thomas nodded vigorously, grinning from one to the other, delighted with the attention. Thomas nikkede ivrigt og grinede, glad over at få så meget opmærksomhed. Condensation 62 And I he gasped, can swim all the way all the way around the lake, too! 63 His arm swept in great wide circles to reinforce the point. 64 There were even more gasps of incredulity from the receptive audience. 65 Then, satisfied with his impact, Thomas sat down heavily in one of the empty deckchairs. Og jeg gispede han, kan også svømme hele, hele vejen rundt om søen! Som for at understøtte sit udsagn, lavede han en stor cirkel med den ene arm. Der lød endnu flere skeptiske udbrud fra det modtagelige publikum. Da Thomas var tilfreds med deres reaktion, satte han sig tungt ned i en af de tomme liggestole Cultural Paraphrase Paraphrase 66 He turned to Cara. og vendte sig mod Cara. Cultural Condensation 67 You! he said, running a stubby hand though his damp red hair. Du! sagde han, mens han kørte en buttet hånd igennem sit røde fugtige hår. /Text-specific 68 Come to my house to see my Kom med hjem til mig og se medals now! mine medaljer. Nu! 69 That s you told! Maggie Der fik du den! grinte Maggie. laughed. 70 You can t get out of that one! Nu slipper du ikke! 71 Cara smiled and nodded. Cara smilede og nikkede. 72 I promise you I ll come and see Jeg lover, at jeg kommer og you medals later. ser dine medaljer senere. 73 I think, Jean said, standing up, that what you need is a drink, young man a nice cold drink. Jeg tror, sagde Jean, idet hun rejste sig, at du, unge mand, trænger til noget koldt /Cultural at drikke. 74 She winked over at Maggie. Hun blinkede til Maggie. 75 And maybe some pancakes? Og måske et par pandekager? 76 Maggie jumped to her feet. Maggie sprang op. Condensation 77 There s still some of the mixture Der er stadig noget af dejen left, she said, gathering tilbage, sagde hun og be- up plates. gyndte at samle nogle af tal- 78 I ll make him some right now. A growing lad like that needs a good breakfast. lerknerne sammen. Jeg går ind og laver nogle med det samme. En dreng i den alder har jo brug for en ordentlig omgang morgenmad. Paraphrase 79 Tell you what, buddy, Jean Hør her, ven, sagde Jean til Side 37 af 48

39 said to Thomas, you carry in some of those plates, and you can have some of Maggie s famous pancakes. 80 Her first time making them, and they re the best I ve ever eaten in America. 81 Thomas clapped his hands delightedly. 82 It s a deal! he said, holding out his hand, palm upwards. 83 Jean gamely brought the palm of her hand down on his in a loud slap, then they went into a routine of slapping each other s hands in a variety of ways. 84 The men stayed outside in the sun, while Maggie, Cara and Jean went inside with Thomas. 85 A little while later, while Maggie was serving up the pancakes, Cara gestured to Jean to come into the hallway out of Thomas hearing. 86 What do you think, she said, about me going over to see Thomas medals? An introspective analysis of a literary translation Thomas, hvis du hjælper med at bære nogle af tallerknerne indenfor, så skal du få nogle af Maggies berømte pandekager. Det er første gang hun laver dem, men det er de bedste amerikanske pandekager, jeg nogensinde har smagt. Thomas klappede henrykt i hænderne. Det er en aftale! sagde han, mens han holdt hånden frem med håndfladen op ad. Jean legede med og klappede sin egen håndflade mod hans, så det gav et ordentligt klask. De fortsatte med at klappe hinanden i hænderne på en masse forskellige måder. Mændene blev udenfor i solen, mens Maggie, Cara og Jean gik indenfor sammen med Thomas. Da Maggie, et øjeblik senere, var ved at servere pandekagerne, gjorde Cara tegn til Jean om at følge med ud i hallen, så Thomas ikke kunne høre dem. Hvad synes du om, at jeg går over og ser Thomas medaljer? spurgte hun /Pragmatic / Permutation Paraphrase 87 She pulled a face. og skar en grimasse. Cultural Condensation 88 I m not too sure you know Jeg er ikke helt sikker du his father. ved hans far. 89 You should go across to the house, Jean said without hesitation. Du burde gå med over til huset, sagde Jean uden at tøve. 90 It means a lot to the boy. Det betyder meget for drengen. 91 Don t be put off by Jameson s Lad dig ikke skræmme af Jamesons manner when you get to facon. Når først man know him, he s a real nice man. lærer ham at kende, er han en 92 I think he s some kind of artist, and those creative types are often temperamental. rigtig rar mand. Han er vist en eller anden form for kunstner, og de der kreative typer er tit lidt temperamentsfulde. Cultural Side 38 af 48

40 93 She glanced towards the kitchen. 94 He s kind of wary of people but I guess being on his own with a handicapped kid isn t easy. An introspective analysis of a literary translation Hun så hen imod køkkenet. Han er lidt varsom over for nye mennesker. Det kan jo heller ikke være let at være alene med et handikappet barn. Condensation Cultural / Addition 95 Even a nice kid like Thomas. Selvom barnet er ligeså flinkt Calque som Thomas. 96 Cara nodded slowly. Cara nikkede langsomt. 97 I didn t realize they were on their own what about Thomas s mother? Jeg var ikke klar over, at de var alene. Hvad med Thomas mor? 98 Honey, Jean said, raising her eyebrows, your guess is as good as mine. 99 When we moved here two years ago, there was only the two of them in the house on their own. Jeg har ingen anelse, ven, sagde Jean med løftede øjenbryn. Da vi flyttede hertil for to år siden, var der kun de to alene i huset. Text-specific 100 Definitely no woman. Der var bestemt ingen kvinde. 101 And, as far as I know, there hadn t been one for some time before that. Og så vidt jeg ved, var det lang tid siden, der sidst havde været en. 102 Hasn t Thomas s father ever mentioned anything about the mother? Har Thomas far aldrig nævnt noget om moderen? 103 Vaguely, Jean said. Kun svagt, svarede Jean. 104 Just odd comments about taking Thomas down to relatives in New York. Sommetider snakker han om at køre Thomas til noget familie i New York. / Direct Transfer 105 She shrugged. Hun trak på skuldrene. 106 I guess he s not the kind of man who talks about personal things. Han er vist bare ikke typen, der snakker om personlige ting. 107 Maggie came into the hallway now. 108 What s all the whispering? she asked, looking suspiciously at her sister and daughter. Pludselig kom Maggie ud i hallen. Hvorfor hvisker I sådan? spurgte hun og så mistænksomt på både sin søster og sin datter. Paraphrase / Explic- 109 Cara coloured up. Cara rødmede. 110 She didn t want her mother to hear her asking about another man. Hun ville ikke have, at hendes mor hørte hende spørge ind til en anden mands liv. itation 111 Not after the things she had said about Oliver this morning. Ikke efter alt det hendes mor havde sagt om Oliver om morgenen. Explicitation 112 Jean motioned with her hand Jean gjorde tegn til Maggie om Condensation Side 39 af 48

41 for Maggie to keep her voice down. 113 I m just filling Cara in on Thomas s details, she said in a low voice. 114 What kind of details? Maggie said, all interested now. 115 I ve just set him down at the table with his pancakes and syrup. 116 I m just saying how Thomas and his father live on their own. 117 Jean craned her neck to make sure that Thomas couldn t hear. An introspective analysis of a literary translation at dæmpe sig. Jeg fortæller bare Cara lidt om Thomas situation, sagde hun med lav stemme. Hvilken situation? spurgte Maggie med fornyet interesse. Jeg har lige givet ham hans pandekager og sirup. Jeg fortalte bare, at Thomas og hans far bor alene. Jean så over mod køkkendøren for at sikre sig, at Thomas ikke kunne høre dem. Alene? gentog Maggie. Adaptation 118 On their own? Maggie repeated. 119 What do you mean? Hvad mener du? 120 I mean there s no mother. Jo altså, der er ingen mor. 121 Oh, the poor man! Maggie Åh, stakkels mand! sagde said, shaking her head. Maggie og rystede på hove- 122 And that poor boy the way he is, and him with no mother. When did she die? 123 She looked back towards the kitchen. 124 Maybe we should have kept some of the pancakes for his father. 125 She s not dead, Mammy Cara hissed. 126 She s just not living with them. 127 The compassion drained from Maggie s face, and it was replaced by a disapproving tightness. 128 Don t tell me they re divorced too, she muttered, shaking her head. 129 That s the last thing that poor lad needs. det. Og den stakkels dreng sådan som han er. Og så uden en mor. Hvornår døde hun? Hun så tilbage mod køkkenet. Måske skulle vi have gemt nogle af pandekagerne til hans far. Hun er ikke død, mor hyssede Cara. Hun bor bare ikke hos dem. Medfølelsen i Maggies ansigtsudtryk blev hurtigt erstattet af en misbilligende grimasse. Sig ikke, at de også er skilt, mumlede hun vredt og rystede på hovedet. Det er da det sidste, den stakkels dreng har brug for. Paraphrase / 130 It s OK, Jean said. Det gør ikke noget, sagde Paraphrase Jean. 131 Jameson Carroll is a very capable Jameson Carroll er en meget man. kompetent mand. 132 I should think he can cook his Jeg er sikker på, han kan bage Side 40 af 48

42 own pancakes, and a lot more besides. 133 Thomas is very fond of his food, and he doesn t exactly look as though he s fading off the face of the earth, now does he? An introspective analysis of a literary translation sine egne pandekager og en masse mere for den sags skyld. Thomas kan rigtig godt lide hans mad, og han ligner jo ikke just en, der er ved at svinde ind, gør han? Adaptation 134 True, Maggie agreed. Nej da, svarede Maggie. Adaptation 135 He s a fine lump of a lad, no Han ser bestemt ikke ud til, Adaptation doubt. at han sulter. 136 And he s clean and tidy, wellturned out considering there s only a man looking after him. Og han er ren og pæn. Han ser nydelig ud taget i betragtning af, at det kun er en mand, der 137 Cara rolled her eyes over in Jean s direction, and her aunt smiled back knowingly. 138 Weren t you a lucky girl yesterday, meeting Thomas and his dad? Jean said, changing the subject. 139 Cara closed her eyes at the memory of the purple and yellow shirt. 140 Yes, she said nodding, I certainly was lucky. tager sig af ham. Cara så på Jean og rullede med øjnene. Hendes tante smilede medvidende tilbage. Var du ikke bare heldig, at du mødte Thomas og hans far i går? sagde Jean og skiftede emne. Cara lukkede øjnene, da hun kom i tanke om den lilla og gule skjorte. Text-specific/ Condensation/ Jo, sagde hun og nikkede, jeg var rigtignok heldig. 141 It was awful. Det var forfærdeligt. 142 I was terrified I don t know what I d have done if I hadn t met them. Jeg var rædselsslagen. Jeg ved ikke, hvad jeg ville have gjort, hvis jeg ikke havde mødt Cultural / 143 What did Jameson actually say to the guy when he confronted him? Jean asked curiously. dem. Hvad sagde Jameson egentlig til fyren, da han konfronterede ham? spurgte Jean nysgerrigt. 144 Cara shrugged. Cara trak på skuldrene. 145 I really don t know, she said. Jeg ved det faktisk ikke, svarede hun. 146 I was just going to ask him that yesterday when you all arrived. Jeg skulle lige til at spørge ham, da I alle dukkede op. Condensation 147 I d love to have seen the guy s face, Jean said, when Jameson Carroll loomed over him. Jeg ville ønske, jeg havde set fyrens ansigtsudtryk, da Jameson rejste sig i sin fulde højde, sagde Jean. Paraphrase 148 He s a good six-footer. Han er næsten to meter høj. Pragmatic Adaptation 149 Yes but so was the weird fellow! Cara said. Ja, men det var den ubehagelige mand også! sagde Cara. Cultural Side 41 af 48

43 150 Thank God it came to nothing. Gudskelov det ikke udviklede sig. 151 Maggie shook her head. Maggie rystede på hovedet. 152 I can t imagine what Oliver Jeg gad nok vide, hvad Oliver Paraphrase would have had to say, if we had let anything happen to you ville have sagt, hvis vi ikke havde passet godt nok på dig 153 At the mention of Oliver s Det gav et sæt i Cara, da Oli- name, Cara felt herself flinch. 154 And I wouldn t have liked to have seen the state of that fellow if Oliver had got his hands on him, Maggie told Jean now. 155 Oliver Gayle mightn t be the biggest man in the world, but he wouldn t let anyone touch a hair on Cara s head. 156 Then, they heard the scrape of Thomas s chair as he got up from the table, and the three women all rushed back into the kitchen Cara grateful for the diversion. 157 Those pancakes swell! he said. vers navn blev nævnt. Og den fyr havde ikke været et kønt syn, hvis Oliver havde fået fingrene i ham, sagde Maggie henvendt til Jean. Oliver Gayle er måske nok ikke den største mand på jorden, men han ville ikke lade nogen krumme et hår på Caras hoved. Netop da hørte de lyden af Thomas stol, der blev skubbet ud fra bordet. Maggie, Jean og Cara, der var glad for at samtalen blev afbrudt, skyndte sig tilbage til køkkenet. De pandekager var perfekte! sagde han. Paraphrase /Oblique translation Cultural Paraphrase Cultural 158 Best in America! De bedste i Amerika! 159 You re very welcome, Maggie beamed. Det var da godt, sagde Maggie og smilede stort. 160 I ll save you some if I make Jeg skal nok gemme nogle til them again before I go home. dig, hvis jeg laver dem igen, før jeg rejser hjem. 161 Thomas stood in front of Cara, Thomas stillede sig foran Cara waiting. og så afventende på hende. 162 I get the feeling, Jean said, Jeg har på fornemmelsen, at that you re not going to get du ikke slipper, sagde Jean til out of this. Cara. 163 You might as well go now, honey Du kan ligeså godt gå med because we don t know nu, ven, for vi ved ikke, hvad what the rest of the day might resten af dagen byder på. bring. 164 She ruffled Thomas s hair. Hun rodede Thomas lidt i håret. 165 When this guy gets the bit Når først fyren her har besluttet between his teeth, there s no sig for noget, er der putting him off. intet, der kan stoppe ham. Text-specific 166 She leaned towards Cara. Hun lænede sig mod Cara. 167 Anyway, you ll just love the Og bare vent, du vil elske Side 42 af 48

44 house. huset. 168 It s really something else. Det er virkelig specielt. 169 Go on now, like a good girl, Vær nu en god pige og gå Cara, Maggie said, med, Cara, sagde Maggie, 170 and make sure you thank that og husk nu at takke manden man again for saving you yesterday. igen for at redde dig i går. 171 Cara turned to Thomas. Cara vendte sig mod Thomas. 172 You go on down to the lake, she said, smiling, and I ll catch Du kan bare begynde at gå ned mod søen, så indhenter up with you. jeg dig om lidt sagde hun og smilede. 173 I just need to pop upstairs for a Jeg bliver lige nødt til at løbe few minutes. 174 Thomas nodded and after politely thanking the women again, he headed on out into the garden. op ovenpå et øjeblik. Thomas nikkede, takkede høfligt de to damer igen og løb ud i haven. 175 Cara ran upstairs and quickly Cara løb ovenpå og skyndte sig freshened up. at gøre sig lidt i stand. 176 She piled her blonde hair in a Hun satte håret i en afslappet casual knot at the top of her head and put on a touch of pale pink lipstick. knude øverst på hovedet og smurte lidt sart lyserød læbestift på. 177 She looked in the mirror and Hun så sig i spejlet og duppede then blotted most of it off with a tissue, so that it didn t look too obvious. så det meste af med et papirlommetørklæde, så det ikke så for iøjnefaldende ud. 178 Then, as she made for the bedroom På vej ud af soveværelset door, she turned back to dab a little perfume behind her ears. stoppede hun lige op for lige at putte lidt parfume bag ørerne. 179 As Jean and Maggie stood on the deck watching Cara run Da Jean og Maggie stod på terrassen og så Cara løbe ned down to meet Thomas, Jean turned to her sister. mod Thomas, vendte Jean sig mod sin søster. 180 She s a lovely, lovely girl. Hun er en dejlig, dejlig pige. 181 You must be very proud of her, Du må være utroligt stolt af Maggie. hende, Maggie. 182 Oh, I am proud of her, Maggie Det er jeg skam også, svare- said. de Maggie. 183 She s a good teacher, and a Hun er en god lærerinde og very good housewife. en rigtig god husmoder. 184 She manages to keep on top of Hun har altid styr på alting. everything well. 185 She s such a beautiful-looking Og så ser hun så nydelig ud, girl, too, Jean went on, fortsatte Jean, 186 with her lovely long blonde hair and her slim figure. med det lange blonde hår og hendes slanke figur. Side 43 af 48

45 187 Oh, well beauty is as beauty does, Maggie stated. 188 But fair dues to Cara, she s never let it go to her head. An introspective analysis of a literary translation Ja, men skønhed kommer indefra, konstaterede Maggie. Men al respekt til Cara, at hun aldrig har ladet det stige til hovedet. Alt taget i betragtning har hun en rar, stille natur. 189 On the whole she has a nice, quiet nature. 190 She looked at her sister. Hun så på sin søster. 191 A bit too quiet at times. Lidt for stille til tider. 192 I think it s all that reading she Jeg tror, det er på grund af alle Explicitation does. de bøger, hun læser. 193 She s a bit of a dreamer. Hun er lidt af en dagdrømmer. 194 She s always been the same Hun har altid været sådan, lige since she was a child. siden hun var barn. 195 Well, Jean laughed, she s Jamen, grinede Jean, hun only living up to her middle lever jo bare op til sit mellemnavn. name. 196 True, Maggie said, laughing now. Ja, det er også sandt, sagde Maggie og lo. 197 I often forget that. Det glemmer jeg tit. 198 I didn t realize that Aisling meant dream-vision in Irish. Jeg var ikke klar over, at Aisling betød dagdrømme på irsk. 199 My Gaeilge was never the best. Mit gæliske ordforråd har aldrig været særligt stort. 200 Maybe I should have checked it Måske skulle jeg have undersøgt out beforehand, and indeed det inden. Det skulle jeg with Charles. nok i hvert fald have gjort med 201 God knows what his name means but all I can say is that he s even worse than Cara for the books. 202 Did you check what Pauline meant before choosing her name? 203 Maggie s face suddenly darkened. Charles. Gud ved, hvad hans navn betyder. Og han er endda værre end Cara til at have næsen i bøgerne. Undersøgte du, hvad Pauline betød, før du valgte hendes navn? Maggie fik pludseligt et mere dystert ansigtsudtryk. 204 No, indeed I didn t, she said. Nej, det gjorde jeg sandelig ikke, sagde hun. 205 She moved closer to the large Hun gik nærmere det store window, and watched as Cara vindue og kiggede efter Cara and Thomas moved further and og Thomas, der begav sig længere further into the greenery. og længere væk langs 206 To me, all Pauline stands for is a mother s broken heart stien. I mine øjne betyder Pauline ikke andet end et knust moderhjerte, Text-specific Explicitation Cultural / Adaptation Side 44 af 48

46 207 Her voice tailed off, slightly sagde hun sagte med gråd i Paraphrase cracking now. stemmen. 208 Oh, Maggie, Jean said, coming to put her arms around her Åh, Maggie, sagde Jean og gik over for at lægge en arm sister. om sin søster. 209 Don t keep worrying about that it s 1963 now and people Lad nu være med at bekymre dig om det. Det er år 1963 nu. /Cultural don t mind so much. Folk har ikke så meget imod det længere. 210 Maggie stiffened in Jean s embrace, Maggie stivnede i Jeans om- but didn t move away. favnelse, men trak sig ikke væk. 211 Maybe, here they don t but back in Ireland I m never allowed Måske har de ikke det her. Men hjemme i Irland lader de Cultural to forget it. mig ikke glemme det et se- kund. 212 A child always brings love, Et barn bringer altid kærlighed Jean said. med sig, sagde Jean. 213 I wrote that to you at the time, Det skrev jeg til dig dengang, and I mean it more now. og jeg mener det endnu mere nu. 214 Maggie managed a watery Det lykkedes Maggie at smile Paraphrase smile. svagt. 215 Oh, I know and Bernadette s Ja, det ved jeg og Bernadette a grand little thing. er en dejlig lille en. 216 A little dote but God love her, she s going to have it hard with En lille engel. Men selv med Guds hjælp får hun det svært Cultural/ Paraphrase no father. uden en far. 217 She sniffed. Hun snøftede. 218 There s hardly a night goes past that I don t shed a tear over it Der går næsten ikke en nat, uden at jeg fælder en lille tåre over det 219 Maggie, Maggie, Jean said, hugging her tighter, 220 you need to stop looking back, and start looking forward. 221 Bernadette has as much right to be in the world as any other child. Maggie, Maggie, sagde Jean og holdt hende lidt tættere til sig, du er nødt til at holde op med at se tilbage og begynde at se fremad i stedet. Bernadette har mindst ligeså meget ret til at være i denne verden som ethvert andet barn. 222 Maggie nodded. Maggie nikkede. 223 The thing is, it s easy to understand Det er bare meget nemmere all that while I m here. at forstå alt det, når jeg er her. 224 Everything seems simple and Alting virker mere simpelt og easy. ligetil. 225 Even all the religion thing with Bruce it doesn t bother me. Selv det med Bruce og hans religion generer mig ikke, når Cultural Paraphrase/Direct transfer Side 45 af 48

47 226 Listening to him, some of his views even seems sensible but the minute I get back home it ll be a different story. 227 You wouldn t survive over there to start questioning things too much, or going against the Church. 228 It doesn t have to be, Jean An introspective analysis of a literary translation jeg er her. Når jeg lytter til ham, er der endda nogle af hans synspunkter, der virker fornuftige, men så snart jeg kommer hjem igen, er sagen en helt anden. Derovre ville man aldrig kunne stille spørgsmålstegn ved noget eller gå imod kirken. Paraphrase Sådan behøver det jo ikke at told her. være, sagde Jean. 229 The thoughts in your own head can be the same wherever De tanker du har i dit hoved, kan være de samme, uanset Cultural you are it s up to you. hvor i verden du er. Det er helt op til dig selv. 230 True Maggie said, but her Sandt nok, sagde Maggie Explicitation voice was distant. med en stemme, der ikke helt lød, som om den mente det. 231 They walked out into the garden, Maggie stopping to examine De gik ud i haven. Maggie stoppede op i ny og næ for at the different plants and flowers. undersøge de forskellige planter og blomster. 232 I hope Cara s all right, she Jeg håber, Cara har det godt, said now. sagde hun så pludselig. 233 There s times it s hard to work out what s going on in somebody Nogle gange er det ret svært at finde ud af, hvad hun tæn- Paraphrase else s head. ker. 234 Cara sounds just fine, Jean Cara ser ud til at have det reassured her, helt fint, beroligede Jean hende, 235 and, aren t you always saying what a wonderful guy her husband og er det ikke dig, der altid fortæller, hvor dejlig en mand is? hun har? 236 Oh, he is, he is. Åh jo, det er han. Paraphrase 237 She s done well marrying him, Maggie said. Det var godt, hun giftede sig med ham, sagde Maggie. 238 She has a lovely big farmhouse, and she goes short of nothing. Hun har et dejligt stort hus, og hun mangler aldrig noget. Condensation/ 239 Oliver s even talking of getting her a car in the near future. 240 He sounds a real nice guy, and so full of life. 241 Declan said he was a leading light in the local drama. 242 Oh indeed, Maggie said, cheering up now. Oliver har endda snakket om at købe en bil til hende snart. Han lyder til at være en rigtig flink fyr, og så fuld af liv. Declan sagde, at han havde en af de vigtigste roller i den lokale teaterforening. Ja bestemt, sagde Maggie og blev i bedre humør. Paraphrase Side 46 af 48

48 243 And they give huge amounts Og de giver altid en masse Condensation to local charities. penge til velgørenhed. 244 Then, she bent down to smell a rose bush. Hun bøjede sig ned for at dufte til en rosenbusk. Permutation/ 245 She picked one of the flowers Derefter plukkede hun en af and twiddled it around in her hands. blomsterne og legede lidt med den i hånden. 246 The only thing missing from Cara s life is a child. Det eneste Cara virkelig mangler er et barn. 247 Jean raised her eyebrows but Jean løftede sine øjenbryn, said nothing. men sagde intet. 248 She found it hard to understand this sister of hers who could lie Hun havde svært ved helt at forstå denne søster, der kunne awake regretting the birth of the only grandchild she had ligge vågen om natten og begræde fødslen af sit eneste barnebarn, 249 and yet say everything would be fine if only Cara gave her a og så alligevel sige at alt ville være fint, hvis bare Cara gav Cultural grandchild. hende et barnebarn. 250 I don t know who s at fault, Jeg ved ikke, hvis skyld det Maggie went on, either him or her. er, fortsatte Maggie, hans eller hendes. 251 And I don t know if they ve ever Og jeg ved ikke, om de nogensinde found out Cara s never said. har fundet ud af det Cara har aldrig rigtig snakket om det. 252 But if they ve not managed it in Men hvis det ikke er lykkedes seven years of marriage dem efter syv års ægteskab 253 Her voice tailed off. Hun tav. 254 Oh, there s lots of couples who conceive babies just when they ve given up, Ak, der er da mange par, der undfanger børn, ligesom de har givet op, 255 Jean said encouragingly, and rhymed off the names of girls they knew when growing up. sagde Jean opmuntrende og begyndte at opremse navne på piger, de havde kendt, da de var unge. Paraphrase 256 I would doubt it now, Maggie Jeg har nu min tvivl, sagde said quietly. Maggie sagte. 257 Not after all this time. Ikke efter alle disse år. Explicitation 258 Cara seems fulfilled in her teaching career, Jean said, and I m sure she s marvelous with children. Cara virker også til at være tilfreds med at være lærerinde, sagde Jean, og jeg er sikker på, at hun er fantastisk 259 You can just tell, even by the way she treats young Thomas. 260 Oh, she has great patience, Maggie agreed, there s no med børn. Det er tydeligt, bare man ser på, hvordan hun behandler Thomas. Åh, ja hun er utrolig tålmodig, sagde Maggie, det er Paraphrase Side 47 af 48

49 doubting that. der bestemt ingen tvivl om. 261 She looked thoughtful again for Hun så betænkelig ud et øjeblik, Adaptation a few moments. før hun tilføjede, 262 If only she had one of her own. hvis bare hun havde sit eget Explicitation barn. 263 You see, it s Oliver I worry Ser du, det er Oliver, jeg er Explicitation about. mest bekymret for. 264 A man likes to prove himself in En mand vil jo gerne vise sig Calque that way. selv på den måde. 265 And you never know he could Og man ved jo aldrig Måske be tempted in other quarters. kunne han blive fristet andre steder. 266 There was a silence. Ingen af dem sagde noget. Paraphrase 267 Have you any reason to feel that way about him? Jean asked, realizing she was treading on delicate ground. Jean var klar over, at hun skulle være forsigtig med at udspørge Maggie yderligere, men kunne ikke lade være. Har du nogen grund til at tro, Substitution 268 Good God, no, Maggie said defensively. 269 He s a good Catholic fellow at Mass every Sunday. 270 No there s no reason whatsoever. 271 She turned and started clearing the table. 272 It s just it s just you would never know with men. at han bliver det? Ved Gud nej, sagde Maggie og rystede afværgende på hovedet. Han er en god katolik, der kommer til messe hver søndag. Nej, det er der bestemt ingen grund til at tro. Hun vendte sig væk fra Jean og begyndte at tage ud af bordet. Det er bare Man kan jo aldrig rigtig vide med mænd. Adaptation Explicitation/ Side 48 af 48