ADT12 ݇ᘍᒼໜ:

Task 1:

Q1. Ե໒૲༏ਖ਼ᘉᦲ‫ړ‬ԅӣᔄ:

• ᧍ٖᘉᦲ (Intralingual Translation) – Ԟᑍԅදᬿ

ҁrewording҂,೰አӧ‫ݶ‬ጱ᧍᥺ᒧ‫ݩ‬ᥴ᯽‫ݶ‬Ӟᐿ
᧍᥺, ইਖ਼‫ᦲ෈ݘ‬౮ሿդ෈̶
• ᧍ᴬᘉᦲ (Interlingual Translation) – Ԟᑍԅਫᴬ
఺ԎጱᘉᦲҁTranslation Proper҂҅‫ܨ‬አ຤ᐿ᧍
᥺ᒧ‫( ݩ‬verbal signs)ᥴ᯽‫ݚ‬Ӟᐿ᧍᥺, ইਖ਼Ӿ෈ᦲ
౮᝕෈̶
• ᒧᴬᘉᦲ ҁIntersemiotic Translation҂- Ԟᑍԅ
ද‫୵ݒ‬ୗጱᘉᦲҁtransmutation҂‫ܨ‬አᶋ᧍᥺ᒧ
‫ݩ‬ᥴ᯽຤ᐿ᧍᥺҅ইᘉᦲߩ᧍ҁtranslate sign
language҂̶

Q2.

ྯӻ෸๗ᭌӞ౲Ӟӻֺৼ

1. ‫ڹ‬ሿդᘉᦲቘᦞ ҁPre-modernist translation

theory҂:
• Direct translation, oblique translation and
 transpositions
• Translation shifts
• The science of translating
2. ෱๗ᘉᦲቘᦞ ҁEarly translation theory҂:
• Formal and dynamic equivalence
• The principle of equivalent response
• Semantic and communicative approaches
3. ୮դᘉᦲቘᦞҁContemporary theory҂:
• Functional categories
• Functional theories
• Text-type analysis
• Skopos theory
• Consecutive interpreting
• The effort model
• Note-taking
• The interpreting approach

Q3̶

‫ڊڜ‬ӣ֖ᘉᦲਹ౲ᘉᦲቘᦞਹғ

• Roman Jakobson
• Eugene A Nida
• Hans Vermeer
• Cicero and St Jerome (the debate over ‘word-
for-word’ translation and ‘sense-for-sense’
translation can go back to their period)
• Martin Luther
• Schleiermacher and the valorization of the
 foreign
• Yan Fu
• Lin Yu Tang
• Mary Collins

Q4̶ᓌᬿᘉᦲጱፓጱᦞҁSkopos҂- ᒼໜᵱ۱ೡզ
ӥಅํٖ਻ғ

ೲᆙᬯᐿᘉᦲቘᦞ҅ᘉᦲጱፓጱฎ‫ݻ‬ፓຽ‫ݑ‬ռ
ҁtarget audience҂൉‫̶௳מ׀‬ፓຽ‫ݑ‬ռ೰ጱฎߺԶ
੒᧍᥺ጱ඲ᒽ‫ݒ‬۸‫ဳىړ܈‬ጱՈ҅۱ೡර૵̵໊ᳩ
զ݊‫ګ‬ਧ඲ᒽጱՈҁPolicy Makers҂̶ࢩྌ҅᧍᥺
ጱֵአଫྋᥢӨᓌ၄ ҁFormal And Concise҂̶

Q5. ᒼໜଫ۱ೡզӥࢥᅩ҅ᶲଧ‫᧣ݢ‬ෆғ

• ᘉᦲᨶᰁᦧ֌(assessment)
• ෈ਁӨ᧍አ੶ེҁpragmatic level҂‫ړ‬ຉ
• Ӥӥ෈(context)զ݊᥺᧨ᦾ᧍(discourse)ጱᒧ‫ݩ‬
੶ེҁsemiotic level҂
• ੒ԭ᥺᧨ᦾ᧍ጱᦧᦞҁcriticisms҂զ݊᧍ऒ
ҁregister҂‫ړ‬ຉ
Task 2:

Q1. Choose any two of the following (՗զӥٖ਻Ӿᭌ

‫ڊ‬ӷӻ):

• Translation as rewriting
• Skopos theory
• Pre-colonial translation theory
• Postcolonial translation theory
• World view of translators
• Religions of translators.
• Translation and gender

Q2̶ਧԎ᷌ғ

ᒈ࣋ҁposition҂– ᘉᦲՈާࣁᘉᦲᬦᑕӾಅ೮ํጱ
ᒈ࣋ҁstance҂҅‫ݢ‬ᚆտଃ‫ک‬ᘉᦲ̵‫֢ݳ‬զ݊‫֢ڠ‬
Ӿ҅ํ෸‫ݢ‬զ፡஑‫(ڊ‬visible)ํ෸‫ڞ‬፡ӧ‫ڊ‬
(invisible)̶

ਧ֖ҁpositionality҂- ੪რ෈๜ҁsource text҂̵ፓ

ຽ෈๜ҁtarget text҂̵რ෈۸ҁsource culture҂౲
ፓຽ෈۸ҁtarget culture҂ᘒ᥺҅ᘉᦲՈާই֜੒ᛔ
૩๜᫝ጱਧ֖(the stance where the translator sees
himself or herself)̶
Q3. ᒼໜଫ۱ೡզӥ3ᅩ҅ᶲଧ‫᧣ݢ‬ෆғ

• զ᧍ාପԅचᏐጱҁCorpus-based҂ጱᘉᦲᎸᑪ
• ᶪ‫਻ٖ؟‬ጱᘉᦲҁAudiovisual translation҂, ੦ٌ
ฎਁ଒ᘉᦲ
• ࣈ‫܄‬۸(localisation)Ө‫ق‬ቖ۸

Q4. ਧԎ᷌ғ

ࣈ‫܄‬۸(localisation)೰ጱฎֵᘉᦲ‫ڊ‬ጱԾߝࣁ᧍᥺Ө
෈۸Ӥᭇ‫(ݳ‬be linguistically and culturally appropriate
to) ᦲ‫܄ࣈ᧍ف‬ጱᵱᥝҁtarget locale҂ֺ҅ইᘉᦲ‫ڊ‬
ጱԾߝտࣁᇙਧጱࢵਹ౲ࣈ‫܄‬ᲀࠓӨֵአ̶

Q5.

ᬯӻᳯ᷌‫ݢ‬ᛔ౯‫ݎ‬ഀଚᦞᬿ̶զӥԅٌӾӷӻֺৼ
ҁᭌٌӾԏӞ‫ݢܨ‬҂ғ

1. ᘉᦲՔ‫ݸ‬տๅԅӫӱ۸ҁspecialization҂ғ੦ٌ
ࣁᘉᦲٖ਻ጱᖫᬋӨ໊੒ොᶎጱӫӱङᦒ
ҁspecialized training for translation copy editing
and proofreading҂҅‫ڞᦲݗ‬տ‫ဳى‬຤Զොᶎጱ
ӫӱ۸҅ইဩ஌/ဩꁿփᦲҁlegal/court
 interpreting҂҅‫܅‬ዌ‫ᦲݗ‬ҁmedical interpreting҂
ࠟӱ‫ᦲݗ‬ᒵ̶
2. ᘉᦲጱ‫ق‬ቖ۸‫֢ݳ‬᩽۠ғࣁሿդᐒտ҅ᘉᦲጱ
‫ق‬ቖ۸‫֢ݳ‬᩽۠෭ፅกด҅ᦜग़‫ཻݑ‬ᬨጱᥤ᷇҅
ইTED ҅ਁ଒ӧฎኧӞӻᦲᘏ๶ਠ౮҅ᘒฎኧ
ӧ‫ࢵݶ‬ਹጱᦲᘏ‫֢ݳ‬ਠ౮̶
3. ᘉᦲጱԾߝտ‫ݒ‬஑᩼๶᩼ӿ੄ग़୸ғᵋ፳ᑀದ
ጱ‫҅઀ݎ‬ᇙ‫ڦ‬ฎ‫௳מ‬ದ๞ҁInformation
Technology҂ጱ‫҅઀ݎ‬ᘉᦲጱԾߝտ‫ݒ‬஑᩼๶᩼
ӿ੄ग़୸̶ٌᕮຎտֵ஑᩼๶᩼ग़ጱᘉᦲՈާ
Ԇᥝᘉᦲਁ଒Өᗑᒊᒵ̶

Task 3:

Q1.

Tenor: Sender is Youth Literature Pty Ltd. Receiver

is the magazine readers.Sender/receivers
relationship is symmetrical̶
Style: ᶋྋୗҁinformal҂
Mode: a prepared written text to be read.

Q2.

ᬯղᘉᦲ๭ාҁthe translated text҂ጱ๋ᕣአ᭔ฎਖ਼

ਙ‫ݎ‬ᤒࣁӞ๜ᶆଙ๥பӤ҅զ‫᧛ᦫޞ‬ᘏ੒ԭଙ᫷Ո
๶᧔۪ॳጱ᯿ᥝ௔̶
ፓຽ᧛ᘏҁthe target readers/audience҂տ۱ೡᬯ๜
๥பጱ᧛ᘏզ݊੒ԭᬯӞᦾ᷌ఽ‫ي‬᪁ጱٌ՜Ո̶

Q3.

౯ᦊԅ౯‫ݢ‬զֵአ੦ᰂॱᬡҁEugene Nida҂ጱۖா
੒ᒵҁDynamic Equivalence҂ጱᘉᦲቘᦞ੒ਙᬰᤈ
୵ୗӤጱ᧣ෆ҅‫ܨ‬ኧܻ๶ጱ“the key of turning this
superiority into my own is hardworking”ද౮
“hardworking is the method for me to make this
superiority become my own” or “ to make the best of it
demands a painstaking effort”̶

Q4.

ܻ๶ጱᘉᦲॡᬦԭፗᦲ (“at 16 I was still a school

leaver working in the countryside” ), ࢩྌ෫ဩਖ਼ܻ
෈፥ྋጱ‫ތ‬Ԏփᬡᕳဌํᬯᐿ෈۸Ө᧍᥺ᙧว
ҁreaders who have no cultural or historical
background of the source language҂ጱ᧛ᘏ̶ԭ
ฎೲᆙDOLET޾ UGENE NIDAጱᘉᦲቘᦞ҅౯ද
౮ԧᬯ໏: “at 16 I was sent to live and work in the
countryside as most urban school graduates were
at that time”̶உดᆐ҅౯‫ץ‬ද‫ݸ‬ጱᘉᦲӧ֕ਖ਼෈ਁ
ጱ఺௏ᘉᦲ‫ڊ‬๶҅Ԟਖ਼෈ਁᙧ‫ݸ‬ጱ‫ތ‬Ԏҁthe
connotation behind the text҂փᬡᕳԧ᧛ᘏ̶

Q5.

ᘉᦲՈާଫ‫ݻ‬ਮಁᇙ‫᧔ڦ‬กᬯᶱᘉᦲૡ֢ጱ෸ᳵਞ

ഭҁthe time schedule for the assignment҂ଚᏟ‫כ‬

ᘉᦲૡ֢ೲ෸ਠ౮̶੪୵ୗӨٖ਻ᘒ᥺҅ᘉᦲՈާ

ᬮଫᏟ‫כ‬ᬯᶱᘉᦲૡ֢ጱᨶᰁ҅ᬮᥝ᭿‫ֵع‬አᤈᦾ

ҁjargon҂Ө๞᧍ҁterminology҂̶

Q6.


ᘉᦲՈާଫ‫ݶݻ‬Ԫᇙ‫᧔ڦ‬กᬯᶱᘉᦲጱૡ֢ᦇ‫ښ‬
ҁthe work plan developed for this assignment҂҅
੦ٌ᧔กᥝතᵞጱ‫௳מ‬ҁthe information to be
collected҂ զ݊‫֌ᦧݢ‬ጱፓຽҁthe measurable
objectives҂̶

Part B
Critique Translation Work Plan Checklist
Assignment ᴅ᧛ᵱᥝᘉᦲጱ෈ᒍ“౯ࠔӞጱᩒ๜
ฎ۪ॳ”̶ᕳ‫ڊ‬ᛔ૩ጱᦧᦞ
(critique)҅ଚ൉‫ץڊ‬දୌᦓ̶
Stakeholders ܻ෈ᒍጱ֢ᘏ̵ᦲᘏզ݊ਞഭᬯᶱ
ૡ֢ጱᶆଙ෈਍ᐒҁYouth Literature
Pty Ltd.҂
OHS ਖ਼ձ‫ۓ‬ጱૡ֢ᰁ‫ݳ‬ቘ‫ړ‬ᯈ҅զ᭿‫ع‬
ዜ۞̵ᔜᐟܴ‫̵ێ‬፲፺ӧᭇᒵ̶
Time Task Task description
May 9 Analyze source ‫ړ‬ຉ෈ᒍጱ᧍ह
and target text ҁregister҂̵ᷚ
໒݊ᦲ‫᧍ڊ‬Өᦲ
‫᧍ف‬ጱፓຽ᧛ᘏ
զ‫׎‬ತ‫ٌڊ‬Ӟᛘ
௔
ҁconsistency҂
̶
 ᦊ፥ᘍᡤᭇ‫ݳ‬ᬯ
ᶱᘉᦲጱ୮դᘉ
ᦲቘᦞ҅੦ٌฎ
Apply theories ᭇአጱ෈ਁᔄ‫ڦ‬
relevant to the
translation ဩҁtext-type
approach҂Өፓ
ጱᦞҁSkopos
theory҂̶
Mark up ೲᆙፘ‫ى‬ጱᘉᦲ
problematic ቘᦞ҅ຽဳ౲‫ښ‬
May 10 translation
‫ڊ‬ҁhighlight or
underline҂ᤩᦊ
ԅᘉᦲ஑ӧ‫ݳ‬ᭇ
ጱ‫̶ݙ᧍޾᦯ܔ‬
Make ԅຽဳ‫ڊ‬ጱࣈො
recommendatio ᖫӤ‫ݩ‬Ꮁ(number
ns the areas that are
marked up)ଚᕳ‫ڊ‬
ᛔ૩ጱᘉᦲୌ
ᦓ̶
 Send the critique ٟ ‫ ᦞ ᦧ ڊ‬ಸ ‫ޞ‬
report to Youth ҁ c r i t i q u e
Literature Pty
Ltd. report҂҅‫ڊڜ‬
‫ץ‬දጱୌᦓ(lists
t h e
recommendations
made)զ݊൉‫ڊ‬ᬯ
May 11 Զୌᦓጱׁഝ̶
Document զӫӱጱොୗਖ਼
assignment ಅํፘ‫෈ى‬կෆ
ቘ౮(Document
this assignment in
the professional
file)಑‫ܦ‬ᇇӨኪৼ
ᇇ̶

Task 4:

Q1.

The literal translation approaches may include:


• Transliterationҁᶪᦲ҂, E.g., card – ‫ܜ‬

• Word-for-word translation, e.g., your health –
఍ጱ؋଼
 • Morphological translation (୵ᦲ), e.g.,
Centrelink – Centrelink

Q2. ҁզӥᒼໜᭌٌӾԏӞ҂

؉ᥤᦲ෸ܻ҅෈Ԟᦜดᐏࣁ੽଒Ӥҁon a
screen҂̶ࣁᬯᐿఘ‫٭‬ӥ҅ᥤᦲጱੴᴴ௔‫ݢ‬ᚆ۱
ೡғ

• If the keyboard was oversensitive and the

cursor kept on jumping here and there, the
translation on screen was not complete. Much
information could be lost.
• Since the program used was still MS Word,
the translation on screen reached the bottom
of the screen which prevented the audience in
the back to it clearly.

Q3.

ࣁᥤᦲӾ᬴҅ወ޾ӧෙᔿྋҁhesitations and
corrections҂ஃஃ఺‫ޱ‬፳֎ᵋ፳ᘉᦲࢯᵙጱӧᆧᕞ
ҁdisfluency҂̶ԅԧᥴ٬ᬯԶᳯ᷌҅౯տๅग़ࣈ඙
ᕞᥤᦲ҅൉ṛ౯ࣁଫ੒๞᧍޾‫ݙ‬ဩ෸‫ᦲݗ‬/ᥤᦲጱದ
ૣӨᚆ‫҅ێ‬զ൉ṛᆧᕞᑕଶҁfluency҂̶

Q4.
౯ਖ਼ๅग़ࣈත‫ލ‬᝕᧍ෛ᳼҅፡ܻ෈ኪ୽޾ኪᥤᜓፓҔ
ဳ఺‫ڦ‬Ոጱ‫ݎ‬ᶪզද࠺ᛔ૩ጱ‫ݎ‬ᶪ̶౯ᬮտग़؉Ӟ
Զ᪙᧛ᕞԟҁshadowing practice ҂զද࠺౯ጱ᧍
ᶪ޾᧍᧣̶

Q5. ҁ՗զӥࢥᅩӾձᭌӷᅩ҂
Interpreters should consider the following effort
models of interpreting for their professional
practice:
• Listening and Analysis Efforts: These efforts
are related to understanding/listening
comprehension: the mere hearing of the
sounds of words is useless if the interpreter’s
brain does not convert them into a meaningful
message;
• Memory Effort: it’s related to a storage
mechanism where information is temporarily
kept before further processing takes place;
• Production Effort: it’s regarding reading or
listening to the source language message,
taking notes when necessary, and making the
target language message delivery.
• Coordination Effort: it’s allowing the interpreter
to manage his/her focus of attention between
the listening and analysis task and the ongoing
self-monitoring that occurs during
performance.