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"Translating for Singing discusses the art and craft of translating singable lyrics, a topic of interest in a wide range of fields, including translation, music, creative writing, cultural studies, performance studies, and semiotics. Previously, such translation has most often been discussed by music critics, many of whom had neither training nor experience in this area. Written by two internationally known translators, the book focusses mainly on practical techniques for creating translations meant to be sung to pre-existing music, with suggested solutions to such linguistic problems as those associated with rhythm, syllable count, vocal burden, rhyme, repetition and sound. Translation theory and translations of lyrics for other purposes, such as surtitles, are also covered.The book can serve as a primary text in courses on translating lyrics and as a reference and supplementary text for other courses and for professionals in the fields mentioned. Beyond academia, the book is of interest to professional translators and to librettists, singers, conductors, stage directors, and audience members."--Bloomsbury Publishing.
Language and languages --- Translating and interpreting. --- Songs --- Music and language. --- Language and music --- Arias --- Ariettas --- Art songs --- Lieder --- Solo songs --- Solo vocal music, Secular --- Songs with various acc. --- Lyric poetry --- Vocal music --- Recorded accompaniments (Voice) --- Interpretation and translation --- Interpreting and translating --- Literature --- Translation and interpretation --- Translators --- Prosodic analysis (Linguistics) --- Rhythm --- Rhythm. --- Translating. --- Translating --- Texts --- LANGUAGE ARTS & DISCIPLINES --- Translating & Interpreting. --- Music --- Translation science --- Liederen --- Muziek --- Liedteksten --- vertalen. --- Music and language --- Translating and interpreting --- E-books --- Vertalen.
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This volume examines the blending of fact and fiction in a series of cultural artefacts by post-dictatorship writers and artists in Argentina, many of them children of disappeared or persecuted parents. Jordana Blejmar argues that these works, which emerged after the turn of the millennium, pay testament to a new cultural formation of memory characterised by the use of autofi ction and playful aesthetics. She focuses on a range of practitioners, including Laura Alcoba, Lola Arias, Félix Bruzzone, Albertina Carri, María Giuffra, Victoria Grigera Dupuy, Mariana Eva Perez, Lucila Quieto, and Ernesto Semán, who look towards each other’s works across boundaries of genre and register as part of the way they address the legacies of the 1976–1983 dictatorship. Approaching these texts not as second-hand or adoptive memories but as memories in their own right, Blejmar invites us to recognise the subversive power of self-figuration, play and humour when dealing with trauma.
Philosophy --- Cognitive psychology --- Sociology of culture --- Didactics of the arts --- Ethnology. Cultural anthropology --- Film --- Theatrical science --- Linguistics --- Fiction --- Literature --- History as a science --- historiografie --- etnologie --- geletterdheid --- theater --- fantasy --- cultuur --- filosofie --- literatuur --- geheugen (mensen) --- Amerikaanse cultuur --- Alcoba, Laura --- Arias, Lola --- Bruzzone, Félix --- Carri, Albertina --- Giuffra, María --- Perez, Mariana Eva --- Quieto, Lucilla --- Semán, Ernesto --- anno 1970-1979 --- anno 1980-1989 --- anno 1990-1999 --- anno 2000-2009 --- anno 2010-2019 --- America --- Argentina --- Latin America
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