998 resultados para translation art


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The thesis is the translation of art related texts, translated for a sculptor of Bologna. The comment to the translation is based on functional theories.

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This dissertation contributes to the fields of theoretical translation studies, semiotic translation theory, and the semiotics of translation. The aim of this work is to explore the alternative and potential which the semiotic approaches to translation entail from the viewpoint of contemporary translation studies. The overall objective is thus to show that a general semiotic translation theory, and in particular, a Peircean translation theory, are possible and indispensable. Furthermore, this study contributes to the semiotranslational approach and to its theory-building by developing the concept of abductive translation (studies). The specific theoretical frame of reference adopted in this study is provided by the semiotranslation introduced by Dinda L. Gorlée. This approach is primarily based on the semeiotic of Charles Sanders Peirce (1839 1914), and aims at a fusion of semiotics and translation studies. A more general framework is provided by the threefold background and material: the published and unpublished writings of Peirce, Peirce scholarship and Peircean-semiotic publications, as well as the translation-theoretical literature. Part One of this study concentrates on the justification, existence, and nature of the semiotic approaches to translation. This part provides a historical survey, a status report, and a discussion of this area of research, by employing the findings in a boundary-clearing that is multilayered both conceptually and terminologically. Part Two deals with Peircean semiotranslation. Here Gorlée s semiotranslational research is examined by focusing on the starting points, features, and development of semiotranslation. Attention is also paid to the state-of-the-art of semiotranslation theory and to the possibilities for future elaborations. Part Three focuses on the semiotranslational claim that translation is an abductive activity. The concept of abductive translation is based on abduction, one of Peirce s three modes of reasoning; at the same time Firstness, the category of abduction, becomes foregrounded. So abductive translation as a form of possibilistic translation receives here an extensive theoretical discussion by citing examples in which abduction manifests itself as (scientific) reasoning and as everyday contemplation. During this treatise, translation is first equated with sign action, then with interpretation and finally with reasoning. All these approaches appear to embody different facets of the same phenomenon Peirce s ubiquitous semiosis, and they all suggest that translation is inherently an intersemiotic activity in which a sign is inferred from another sign. Translation is therefore semiosis, semiosis is translation and interpretation, interpretation is reasoning, and so on ad infinitum all being manifestations of the art of marshalling signs. The three parts of this study are linked by the overall goal of abductive translation studies: investigation into abductive translation develops the theory of semiotranslation, and this enrichment of semiotranslation in turn constructs a semiotic paradigm within translation studies.

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To be presented at SIG/ISMB07 ontology workshop: http://bio-ontologies.org.uk/index.php To be published in BMC Bioinformatics. Sponsorship: JISC

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The article makes the case for redescribing Jean Barbeyrac [1674-1744], the great French translator and influential glossator of seventeenth-century Latin natural-law texts, as something quite other than a neutral mediator of Samuel Pufendorf. To consider the specific religious and political charge of his strategies as translator is to recognize the independence of Barbeyrac's Huguenot stance on natura; jurisprudence. This stance is provoked by the profound challenge that Pufendorf's radical post-Wespthalian secularizing of civil authority posed for a Huguenot: how to grant that the state had legitimate authority to regulate all external conduct, but at the same time preserve an inviolable moral space for the exercise of individual conscience. The argument--pointing to Barbeyrac's construction of a 'Lockeanized' Pufendorf--rests both on his famous presentation of Leibniz's critique of Pufendorf's De officio hominis et civis and on more neglected elements of Barbeyrac's corpus.

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This dissertation analyses how physical objects are translated into digital artworks using techniques which can lead to ‘imperfections’ in the resulting digital artwork that are typically removed to arrive at a ‘perfect’ final representation. The dissertation discusses the adaptation of existing techniques into an artistic workflow that acknowledges and incorporates the imperfections of translation into the final pieces. It presents an exploration of the relationship between physical and digital artefacts and the processes used to move between the two. The work explores the 'craft' of digital sculpting and the technology used in producing what the artist terms ‘a naturally imperfect form’, incorporating knowledge of traditional sculpture, an understanding of anatomy and an interest in the study of bones (Osteology). The outcomes of the research are presented as a series of digital sculptural works, exhibited as a collection of curiosities in multiple mediums, including interactive game spaces, augmented reality (AR), rapid prototype prints (RP) and video displays.

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Identifying translations from comparable corpora is a well-known problem with several applications, e.g. dictionary creation in resource-scarce languages. Scarcity of high quality corpora, especially in Indian languages, makes this problem hard, e.g. state-of-the-art techniques achieve a mean reciprocal rank (MRR) of 0.66 for English-Italian, and a mere 0.187 for Telugu-Kannada. There exist comparable corpora in many Indian languages with other ``auxiliary'' languages. We observe that translations have many topically related words in common in the auxiliary language. To model this, we define the notion of a translingual theme, a set of topically related words from auxiliary language corpora, and present a probabilistic framework for translation induction. Extensive experiments on 35 comparable corpora using English and French as auxiliary languages show that this approach can yield dramatic improvements in performance (e.g. MRR improves by 124% to 0.419 for Telugu-Kannada). A user study on WikiTSu, a system for cross-lingual Wikipedia title suggestion that uses our approach, shows a 20% improvement in the quality of titles suggested.

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This paper investigates unsupervised test-time adaptation of language models (LM) using discriminative methods for a Mandarin broadcast speech transcription and translation task. A standard approach to adapt interpolated language models to is to optimize the component weights by minimizing the perplexity on supervision data. This is a widely made approximation for language modeling in automatic speech recognition (ASR) systems. For speech translation tasks, it is unclear whether a strong correlation still exists between perplexity and various forms of error cost functions in recognition and translation stages. The proposed minimum Bayes risk (MBR) based approach provides a flexible framework for unsupervised LM adaptation. It generalizes to a variety of forms of recognition and translation error metrics. LM adaptation is performed at the audio document level using either the character error rate (CER), or translation edit rate (TER) as the cost function. An efficient parameter estimation scheme using the extended Baum-Welch (EBW) algorithm is proposed. Experimental results on a state-of-the-art speech recognition and translation system are presented. The MBR adapted language models gave the best recognition and translation performance and reduced the TER score by up to 0.54% absolute. © 2007 IEEE.

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This article explores the historical neglect of translation as a consideration in the study and practice of theatre in the United States and Europe. While the study of literature is fairly strictly divided between English-language and Comparative Literature departments, theatre and drama have shown little concern about language as a barrier to reception of the dramatic text. Arguably, this discrepancy may be traced to a fundamental gap between the perceived status of the novel as a completed work of art and the playtext as work of art in progress, waiting to find its completion in performance.

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