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    Wyświetlanie 1-5 z 5
    Tytuł:
    Hermeneutics, Retranslation and Paratext: a Case Study of Seamus Heaney’s Preface to His Retranslation of „Beowulf”
    Autorzy:
    Saki, Mohamed
    Powiązania:
    https://bibliotekanauki.pl/articles/2129710.pdf
    Data publikacji:
    2021-12-30
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    hermeneutics
    retranslation
    situatedness
    self-understanding
    preface
    metatranslator
    Opis:
    This paper sets to analyse the hermeneutical process of highlighting at work in the preface written by the North Irish poet Seamus Heaney to his retranslations of Beowulf (1999). My analysis takes into account the generic identity of the preface by considering it as a textual subgenre where the translator becomes a metatranslator to voice herself out of invisibility, engages in a (self-reflexive) hermeneutical analysis and “justification” by commenting on the choice of the translated work and their translation choices. The analysis is carried out with the help of two concepts elaborated by Gadamer: situatedness and self-understanding to show how Seamus Heaney fuses different horizons in the process of his retranslation.
    Źródło:
    Research in Language; 2021, 19, 4; 353-367
    1731-7533
    Pojawia się w:
    Research in Language
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Is that intertext ‘singing’?! ‘Plultiplied’ multivoicedness in Joyce’s Ulysses and its amplification in Italian (re)translations: A case study
    Autorzy:
    Paulis, Monica
    Powiązania:
    https://bibliotekanauki.pl/articles/29520333.pdf
    Data publikacji:
    2023-12-18
    Wydawca:
    Uniwersytet Bielsko-Bialski
    Tematy:
    James Joyce
    dialogizm
    intertekstualność
    retranslacja
    wielogłosowość
    : James Joyce
    dialogism
    intertextuality
    retranslation
    multivoicedness
    Opis:
    Although Mikhail Bakhtin never used the term intertextuality in any of his writings, the dialogic concept that every utterance echoes other utterances and, analogously, every text also echoes other texts, provided the basis for Kristeva’s (1966) theory of intertextuality and has proved to be of fundamental importance for the study of literature ever since. The presence of intertextual elements in a literary text (such as citations of and allusions to other literary works) always represents a challenge to the translator. In this article we explore different types of intertextuality in James Joyce’s Ulysses. During our analysis, we describe how the source text, the first Italian translation, and no less than six subsequent retranslations interact with one another from a dialogic perspective, in the presence of such elements. Because of the abundance of intertextuality, stylistic and linguistic variety, and multivoicedness, Joyce’s masterpiece is a well-known example of apolyphonic novel. While analyzing dialogic interactions taking place within the “macrotext” constituted by the 36 source text and its Italian (re)translations, we therefore also discuss the effects generated by the way in which intertextuality is rendered in (re)translation. The specific ways in which translations recreate the original’s multivoicedness orient the dialogic experience of the recipients of the (re)translations.
    Źródło:
    Świat i Słowo; 2023, 41, 2; 113-132
    1731-3317
    Pojawia się w:
    Świat i Słowo
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Subjectivity in (Re)Translation: The Case of Oscar Wilde’s Tales in Romanian
    Autorzy:
    Hăisan, Daniela
    Powiązania:
    https://bibliotekanauki.pl/articles/605936.pdf
    Data publikacji:
    2020
    Wydawca:
    Uniwersytet Marii Curie-Skłodowskiej. Wydawnictwo Uniwersytetu Marii Curie-Skłodowskiej
    Tematy:
    Rückübersetzung
    Subjektivität
    Kinderliteratur
    Kompensation, Oscar Wilde
    retranslation
    subjectivity
    children's literature
    compensation
    Oscar Wilde
    Retraduction
    subjectivité
    littérature enfantine
    Opis:
    Der Artikel enthält das Abstract auschließlich in englischer Sprache.
    Based on a corpus of nine tales by Oscar Wilde (making up the two well-known volumes: The Happy Prince and Other Stories, 1888, and A House of Pomegranates, 1891), along with nine Romanian versions of these texts, the present article aims at reflecting on the linguo-semantic expression of emotion (with a focus on subjective adjectives like little, big, poor etc.), as well as making an inventory of the compensation strategies used by translators, taking into account the fact that most Romanian versions are addressed to children, and also that translation criticism, just like translating itself, is a matter of instinct, taste, affinity, finally emotion.
    L'article contient uniquement le résumé en anglais.
    Źródło:
    Lublin Studies in Modern Languages and Literature; 2020, 44, 1
    0137-4699
    Pojawia się w:
    Lublin Studies in Modern Languages and Literature
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Questioning the ‘of’ in Performance-as-translation: Multimedia as a Subtext in the 2003 Pécs Performance ‘of’ Hamlet
    Autorzy:
    Minier, Márta
    Powiązania:
    https://bibliotekanauki.pl/articles/647983.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Shakespeare reception
    Shakespeare translation
    retranslation
    Hamlet
    Shakespeare in Hungary
    drama translation
    Ádám Nádasdy
    intersemiotic translation
    adaptation
    structural transformation
    performance as translation
    multimedia performance
    performan
    Opis:
    This article explores a theatre performance (National Theatre Pécs, 2003, dir. Iván Hargitai) working with a 1999 Hungarian translation of Hamlet by educator, scholar, translator and poet Ádám Nádasdy as a structural transformation (Fischer-Lichte 1992) of the dramatic text for the stage. The performance is perceived as an intersemiotic translation but not as one emerging from a source-to-target one-way route. The study focuses on certain substructures such as the set design and the multimedial nature of the performance (as defined by Giesekam 2007), and by highlighting intertextual and hypertextual ways of accessing this performance-as-translation it questions the ‘of’ in the ‘performance of Hamlet (or insert other dramatic title)’ phrase. This experimentation with the terminology around performance-as-translation also facilitates the unveiling of a layer of the complex Hungarian Hamlet palimpsest, which, as a multi-layered cultural phenomenon, consists of much more than literary texts: its fabric includes theatre performance and other creative works.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2017, 16, 31; 89-108
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
    Tytuł:
    Three Translators in Search of an Author: Linguistic Strategies and Language Models in the (Re)translation of Shakespeare’s Plays into Catalan
    Autorzy:
    Pujol, Dídac
    Powiązania:
    https://bibliotekanauki.pl/articles/648038.pdf
    Data publikacji:
    2017
    Wydawca:
    Uniwersytet Łódzki. Wydawnictwo Uniwersytetu Łódzkiego
    Tematy:
    Shakespeare
    translation
    retranslation
    adaptation
    oral discourse
    TV3’s oral standard
    Catalan-Spanish code-switching and diglossia
    Catalan literary language
    linguistic strategies
    language models
    Gaietà Soler
    Anfòs Par
    Salvador Oliva
    Hamlet
    Kin
    Opis:
    This article shows how the language of Shakespeare’s plays has been rendered into Catalan in three especially significant periods: the late 19th century, the early 20th century, and the late 20th and early 21st centuries. The first section centres on the contrast between natural and unnatural language in Hamlet, and considers how this differentiation is carried out (by linguistic techniques that differ substantially from Shakespeare’s) in a late 19th-century Catalan adaptation by Gaietà Soler. The second part of the article investigates the reasons why in an early 20th-century translation of King Lear the translator, Anfòs Par, resorts to medieval instead of present-time language. The last section of the article illustrates how and explores the motivations why Salvador Oliva’s first (1985) version of The Tempest is retranslated in 2006 using a different language model. The ultimate aim of the paper is to put forward the hypothesis that, in the case of Catalan, Shakespearean translations are both a reflection of the current state of the language and a major linguistic experimentation that shapes and creates (sometimes through a via negativa) the Catalan literary language.
    Źródło:
    Multicultural Shakespeare: Translation, Appropriation and Performance; 2017, 16, 31; 41-59
    2083-8530
    2300-7605
    Pojawia się w:
    Multicultural Shakespeare: Translation, Appropriation and Performance
    Dostawca treści:
    Biblioteka Nauki
    Artykuł
      Wyświetlanie 1-5 z 5

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