{"id":16342,"date":"2002-10-04T00:00:00","date_gmt":"2002-10-04T00:00:00","guid":{"rendered":"https:\/\/www.deberes.net\/tesis\/sin-categoria\/la-traduccion-de-la-literatura-del-chino-al-espanol-un-relato-de-gan-bao\/"},"modified":"2002-10-04T00:00:00","modified_gmt":"2002-10-04T00:00:00","slug":"la-traduccion-de-la-literatura-del-chino-al-espanol-un-relato-de-gan-bao","status":"publish","type":"post","link":"https:\/\/www.deberes.net\/tesis\/linguistica\/la-traduccion-de-la-literatura-del-chino-al-espanol-un-relato-de-gan-bao\/","title":{"rendered":"La traducci\u00f3n de la literatura del chino al espa\u00f1ol: un relato de gan bao"},"content":{"rendered":"<h2>Tesis doctoral de <strong> Gabriel Garc\u00eda-noblejas S\u00e1nchez-cendal <\/strong><\/h2>\n<p>La tesis intenta mostrar qu\u00e9 problemas surgen al intentar traducir un relato del chino medieval al espa\u00f1ol contempor\u00e1neo escrito por gan bao. el marco en que se inserta es el de la pragm\u00e1tica y el de los estudios interculturales, pues el an\u00e1lisis textual y las implicaciones culturales del texto que se traduce son los dos elementos principales involucrados en la producci\u00f3n del sentido del texto por parte del lector. Esta investigaci\u00f3n est\u00e1 dividida en tres partes generales.  la primera parte (cap\u00edtulo 1) trata de la historia textual tanto del relato en s\u00ed mismo como del libro al que pertenece, y en ellas se fija el texto que se va a traducir por medio del cotejo con varias versiones procedentes de distintos libros.  en la segunda parte (cap\u00edtulos 3 -7) se procura mostrar cu\u00e1les son los elementos textuales que el traductor debe tener en cuenta. Tales elementos se analizan en tres fases: primera, mediante la producci\u00f3n de los que llamamos un \u00abtexto bruto\u00bb, i.E., Un texto que reproduce tanto el orden de los ideogramas chinos como su organizaci\u00f3n gramatical, pero con palabras espa\u00f1olas; segunda, una producci\u00f3n explicada de qu\u00e9 cambios se deben introducir en dicho texto bruto para convertirlo en un producto del idioma; y tercera, la producci\u00f3n de dos traducciones diferentes a partir de ese \u00abtexto refinado\u00bb seg\u00fan se le vaya a dar un uso en un \u00e1mbito de sintolog\u00eda o de narrativa extranjera.  la tercera parte (cap\u00edtulos 2, 4 y 5) pretende aclarar qu\u00e9 elementos co-textuales y contextuales deben considerarse a la hora de localizar los elementos de producci\u00f3n de sentido del texto. Se considera que la tarea del traductor consiste en responsabilizarse de que la comunicaci\u00f3n del texto se haga con el mayor grado de adaptaci\u00f3n posible a los usos que se le vayan a dar a la traducci\u00f3n y a los lectores.<\/p>\n<p>&nbsp;<\/p>\n<h3>Datos acad\u00e9micos de la tesis doctoral \u00ab<strong>La traducci\u00f3n de la literatura del chino al espa\u00f1ol: un relato de gan bao<\/strong>\u00ab<\/h3>\n<ul>\n<li><strong>T\u00edtulo de la tesis:<\/strong>\u00a0 La traducci\u00f3n de la literatura del chino al espa\u00f1ol: un relato de gan bao <\/li>\n<li><strong>Autor:<\/strong>\u00a0 Gabriel Garc\u00eda-noblejas S\u00e1nchez-cendal <\/li>\n<li><strong>Universidad:<\/strong>\u00a0 Oviedo<\/li>\n<li><strong>Fecha de lectura de la tesis:<\/strong>\u00a0 10\/04\/2002<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n<h3>Direcci\u00f3n y tribunal<\/h3>\n<ul>\n<li><strong>Director de la tesis<\/strong>\n<ul>\n<li>Rafael N\u00fa\u00f1ez Ramos<\/li>\n<\/ul>\n<\/li>\n<li><strong>Tribunal<\/strong>\n<ul>\n<li>Presidente del tribunal:  \u00e1lvarez sanagust\u00edn Jos\u00e9 alberto <\/li>\n<li>Javier Rubiera fern\u00e1ndez (vocal)<\/li>\n<li>pedro San gines aguilar (vocal)<\/li>\n<li>Juan  Jos\u00e9 Ciruela alferez (vocal)<\/li>\n<\/ul>\n<\/li>\n<\/ul>\n<p>&nbsp;<\/p>\n","protected":false},"excerpt":{"rendered":"<p>Tesis doctoral de Gabriel Garc\u00eda-noblejas S\u00e1nchez-cendal La tesis intenta mostrar qu\u00e9 problemas surgen al intentar traducir un relato del chino [&hellip;]<\/p>\n","protected":false},"author":1,"featured_media":0,"comment_status":"open","ping_status":"open","sticky":false,"template":"","format":"standard","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center 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