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"Be/have", "have/be" as equivalents of Czech "být/mít"; and "být/mít", "mít/být" as equivalents of English "be/have" in parallel texts: a comparison of the semantic and information structure of divergents counterparts.
Procházková, Ilona ; Dušková, Libuše (advisor) ; Brůhová, Gabriela (referee)
This diploma thesis examines translation counterparts of the English verbs be and have and the Czech verbs být and mít. It focuses on instances with a divergent translation counterpart, i.e. instances in which be corresponds to mít and have corresponds to být in the English-Czech direction, and instances of být being reflected as have and mít as be in the Czech - English direction. The aim of the paper is to determine to what extent divergent verb counterparts are used in the translation, whether the target language has available alternatives with a verb counterpart identical with the original, and what are the motivating factors that influence the choice of a divergent verb counterpart. Another objective is to examine the changes in the syntactic and semantic structure connected with the use of a divergent verb counterpart, and to assess their impact on the functional sentence perspective. The research used material from the parallel Intercorp. A total of 164 examples with a divergent verb counterpart was excerpted and the research was divided into four parts, according to the source language and the verb. The use of divergent verb counterparts was explained mostly by a lexical gap in the target language, or by semantic and stylistic factors and to a smaller extent also by the influence of the...
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Psychological aspects of the gothic in Joseph Sheridan Le Fanu's fiction
Procházková, Ilona ; Wallace, Clare (advisor) ; Pilný, Ondřej (referee)
What is usually understood by the term "Gothic" is the distant and rather obscure period of Middle Ages connoting severe wars, fortified inhospitable castles and the burning of witches. Apart from that, the word is very often used specifically to describe the architecture of this time. However, especially in an English cultural context this word gained a secondary meaning which is not completely unrelated to the first one and which is to a large extent connected with literature. Under the influence of Romanticism, the second half of the eighteenth century bears witness to extended interest in uncanny Gothic castles or ruins, forlorn scenery and other melancholy places, with even greater stress put on its mysterious, obscure and frightening aspects that finally resulted in something which may be called the Gothic revival. Victor Sage writes that, "'Gothic' could connote any of a wide range of overlapping senses: horrid, barbarous, superstitious, Tudor, Druid, English, German, and even Oriental."1 One of the primary goals of Gothic literature was to create strong emotion of fear or even horror. Among the most popular settings of its fiction belong gloomy ancient chambers, buildings with rich pasts, abandoned decaying mansions, graveyards and similar places which help to establish the right atmosphere for...
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"Be/have", "have/be" as equivalents of Czech "být/mít"; and "být/mít", "mít/být" as equivalents of English "be/have" in parallel texts: a comparison of the semantic and information structure of divergents counterparts.
Procházková, Ilona ; Dušková, Libuše (advisor) ; Brůhová, Gabriela (referee)
This diploma thesis examines translation counterparts of the English verbs be and have and the Czech verbs být and mít. It focuses on instances with a divergent translation counterpart, i.e. instances in which be corresponds to mít and have corresponds to být in the English-Czech direction, and instances of být being reflected as have and mít as be in the Czech - English direction. The aim of the paper is to determine to what extent divergent verb counterparts are used in the translation, whether the target language has available alternatives with a verb counterpart identical with the original, and what are the motivating factors that influence the choice of a divergent verb counterpart. Another objective is to examine the changes in the syntactic and semantic structure connected with the use of a divergent verb counterpart, and to assess their impact on the functional sentence perspective. The research used material from the parallel Intercorp. A total of 164 examples with a divergent verb counterpart was excerpted and the research was divided into four parts, according to the source language and the verb. The use of divergent verb counterparts was explained mostly by a lexical gap in the target language, or by semantic and stylistic factors and to a smaller extent also by the influence of the...
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Psychological aspects of the gothic in Joseph Sheridan Le Fanu's fiction
Procházková, Ilona ; Pilný, Ondřej (referee) ; Wallace, Clare (advisor)
What is usually understood by the term "Gothic" is the distant and rather obscure period of Middle Ages connoting severe wars, fortified inhospitable castles and the burning of witches. Apart from that, the word is very often used specifically to describe the architecture of this time. However, especially in an English cultural context this word gained a secondary meaning which is not completely unrelated to the first one and which is to a large extent connected with literature. Under the influence of Romanticism, the second half of the eighteenth century bears witness to extended interest in uncanny Gothic castles or ruins, forlorn scenery and other melancholy places, with even greater stress put on its mysterious, obscure and frightening aspects that finally resulted in something which may be called the Gothic revival. Victor Sage writes that, "'Gothic' could connote any of a wide range of overlapping senses: horrid, barbarous, superstitious, Tudor, Druid, English, German, and even Oriental."1 One of the primary goals of Gothic literature was to create strong emotion of fear or even horror. Among the most popular settings of its fiction belong gloomy ancient chambers, buildings with rich pasts, abandoned decaying mansions, graveyards and similar places which help to establish the right atmosphere for...
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