text register

1. ADVANCED
TRANSLATION
NOVEMBER 5th 2022

2. Today’s Presenters
MIFTAHUL JANNAH
A2B021044
GUSTINAWATI
A2B021045
PUTRI D. GUSTIANA
A2B021046
ANNISA HERSA P
A2B021049

3. TEXT REGISTER IN
TRANSLATION

4. TEXT TYPE
Context of
situation (Register)
Context of Culture

5. What is Register?
• Register is how text type accommodates the way language generally varies as
situation vary.
• The relationship between the writer attitude and the variety chosen is very
important in the study of written language.

6. Register
Field
Tenor
Mode
Subject matter
• What is being spoken/written about?
• What are the goals of the text?
Relationship power
• Who is speaking to whom?
• What is the relationship between them?
• How is communication happening?
• How is coherence maintained?

7. Use and User of
Language
In dealing with the context of situation
from a translation perspective, we
entertain the generally accepted socio-
linguistic assumption that language use
varies as its context varies, and the
different language varieties emerge to
cater for different contexts.
• The flower girl [subsiding into a brooding
melancholy over her basket, and talking very low
spiritedly to herself] I am a good girl, I am
• The flower girl [still nursing her sense of injury] ain’t
no call to meddle with me, he ain’t

8. Institutional-Communicative Context
Institutional-communicative context is focused in who is communicating with
whom, what is being communicated, and how this is communicated. Together
with intentionality and intertextuality, register mediates between language and
situation.

9. Functional Tenor
• Tenor is level of formality.
• Tenor has to do with the level of formality of the relationship between the
participants in the linguistic event.
• Functional tenor is the category used to describe what language is being used
for in the situation. (i.e. to persuade, to discipline, to inform)

10. The participants
• Politician vs electorate
• Lawmaker vs public
are now defined not only in terms of single scale categories such as formal or
technical, but also in terms of other aspects of interaction such as:
 the informality of direct face-to-face encounters vs the formality of indirect
writer-audience interaction;
 the semi-formality of the persuader vs the slightly more formal tenor of the
informer (or the ultra-formality of the lawmaker).

11. The notion of equivalence adopted in House’s
approach to quality assessment is underpinned by
the idea of text function. This is certainly related to
register and to such linguistic-situational factors as
subject matter and level of formality. Function,
however, cannot be seen solely in terms of the
minutiae of a text’s grammar and vocabulary.
RHETORICAL PURPOSE VS TEXT FUNCTION
Juliane House (1977, 1997) equivalence is
defined in terms of:
■ the linguistic and situational features of
the ST and TT
■ a comparison of the two texts
■ an assessment of ST–TT relative match

12. COVERT AND OVERT
TRANSLATION
• House (1977) overt translation is
variously labelled as literal, semantic,
foreignizing, documentary, this
translation method entails that signs
are simply substituted for signs, and
that quite a portion of the cultural
content is left for the target reader to
sort out.

13. The Hamas text, a letter by Saddam
Hussein to the people of Iraq
From Saddam Hussein to the great Iraqi people, the sons of the
Arab and Islamic nation, and honorable people everywhere. Peace be
upon you, and the mercy and blessings of God. Just as Hulaku
entered Baghdad, the criminal Bush entered it, with Alqami, or
rather, more than one Alqami. [. . .]
(The Guardian 30 April 2003 (trans. Brian Whitaker))

14. TEXT, GENRE AND DISCOURSE
SHIFTS IN TRANSLATION

15. important perspective from
which texts may be viewed is
the context of culture. Like
other macro-structures such
as schemata or scripts, texts
are seen as vehicles for the
expression of a range of socio-
cultural meanings. These have
to do with:
■ ‘rhetorical purpose’ in the
case of what we can now
technically call the unit text,
■ the conventional
requirements of a set of
‘communicative events’ or
genres,
■ ideology (or other kinds of
‘attitude’) implied by adopting
a particular discourse.
two basic types of intertextual
reference may be distinguished
(Fairclough 1989) :
First, horizontal intertextuality,
involving concrete reference to, or
straight quotation from, other texts
Second, effective vertical intertextuality
is that which, in addition to quoting,
contributes through the intertextual
reference to:
 clarity of expression and
accessibility of the intention (a text
matter)
 the conventionality governing this
mode of political speaking (genre)
 the sense of commitment to a
cause conveyed (discourse)
.

16. GENRE SHIFTS
‘genre’ is a conventionalized form of
speaking or writing which we associate
with particular ‘communicative events
(e.g. the academic abstract). Participants
in these events tend to have set goals,
with strict norms regulating what can or
cannot be said within the confines of
given genre settings.
TEXT SHIFTS
text is a vehicle for the expression of
conventionalized goals and functions, but
rather to a set of specific rhetorical modes
such as arguing and narrating.
Rhetorical purposes of this kind impose
their own constraints on how a sequence
of sentences becomes a ‘text’, intended
and accepted as a coherent and cohesive
whole, and as such capable of realizing a
set of mutually relevant communicative
intentions appropriate to a given
rhetorical purpose.
DISCOURSE SHIFTS
a text must also strike an ideological note
of some kind to be a viable unit of
communication. That is, in their attempt
to pursue a given rhetorical purpose,
within the dos and don’ts of a particular
genre, producers and receivers of texts
necessarily engage in the negotiation of
attitudinal meanings and the espousal or
rejection of a particular ideology.

17. Carl James (1989)
‘Genre Analysis and the Translator’, Target
GENRE (Coherent text)
Koller 1981 , defines technical text should follow the
six expectations of the reader :
The most coherent genres will fall into the two
classes: (1) technical text or everyday prosaic text
(OBITUARY, NEWSCAST, etc.) and (2) literary texts
(the least coherent such as POETRY, SONG, etc)
(i) carry the expected information or have ‘topic-
relevance’
(ii) be in a conventional format
(iii)have logical sentence connectivity
(iv)have the expected ‘impact’
(v) be appropriate in style
(vi)be intelligible to him as reader

18. Genre Study in
T
ranslating T
raining
Toury (1982) there is a genre TRANSLATION
• Ideological translation
• Pseudo-translations, these being defined as ‘target-language texts which are
presented as translations although no corresponding source texts in another
language, hence no factual translational relationships, exist’
Savory’s (1957: 50) famous paradox
A translation should read like an original work, and A translation should read like
a translation
Implication
Translator must be familiar with both original works and translations: only in this
way we will be able to refine the sensitivity and the appropriatness of response
to TRANSLATION
1. The Existance of genre in TRANSLATION

19. 2. Translations are translations of other genres
Student/translator must receive genre-based experience. The
translation of an individual text must start with the
identification of its genre type.
The suggestion that all texts belong to their generic class and
genre has implications for syllabus design in translator
training, and the case for a text-typological approach to
syllabus design for translator training was well stated by
Hatim (1984):
(1) we might recognize the tripartite division: literary, technical
and everyday class of genre, and organize the work around
this scheme.
(2) recognize and translate the hybrid genres such as REVIEW-
ARTICLE or DISCUSSION-DOCUMENT

20. Translating the Commune:
Cultural Politics and the Historical
Specificity of the Anarchist Text,
Traduction, Terminologie,
Rédaction (Donald Bruce,1994)
Some possible reasons which may have contributed to the ghettoization of Vallès’s writings.
Amongst these one might consider the following:
 Stylistically, the texts incorporate many journalistic devices.
 The texts are strongly referential and become increasingly which portrays the explosion of
the Commune.
 These are also very political novels which, instead of providing escape, bring us back to the
realities of social conflict and oppression as seen through the eyes of a nineteenth-century
anarcho-socialist.
 There have simply not been enough informed readers of Vallès due to his exclusion from the
canon.

21. Elements
Relate
Discourse
Theory to
T
ranslation
some Operative Definition of Elements Relate Discourse
Theory to T
ranslation
Discourse
1) a dispersion of texts whose historical mode of inscription allows us
to describe them as a space of enunciative regularities;
2) a set of anonymous, historically situated rules (e.g. generic systems
) which are determined by a given epoch, and which in turn
determine the conditions of enunciation for a given social or
linguistic field.
Text
a specific articulation of discourse, a semiotic space within which
discourse emerges.
Interdiscursivity
The reciprocal interaction and influence of contiguous and
homologous discourses’ (Angenot, 1983, p. 107), i.e. the
interaction of the fundamental regulative principles of specific
discourses.
Intertextuality
The circulation and transformation of ideologems.
Ideologem
a small signifying unit possessing the attribute of acceptability
within a given doxa ( popular opinion/belief)

22. Conclusion
Text type in the translation process may best be appreciated when text is
seen in terms of register and as part of the socio-textual practices which make
up the context of culture. This is the semiotic dimension of context which
caters for the diverse range of rhetorical purposes, modes of speaking and
writing, and statements of attitudes towards aspects of socio-cultural life.
Texts, genres and discourses are macro-signs within which we do things with
words. Words thus become instruments of power and ideology.

23. THANK YOU
Any Question?