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Translation does not work in a vacuum. Making it visible as action in a structured context is the goal of this book. This broad context includes individuals and, more significantly, collective actors-publishers, reviewers and patrons, publishers, journals, social and political organizations. Individually and collectively, they form dynamic, interactive, and interdependent networks. These are essential for translation in exile, as they influence the production and reception of translations both positively and negatively. If they are missing, not only working conditions change, but entire biographies. Newly emerging networks, on the other hand, create the conditions for translating. What are the working and living conditions, the structures of action and publication in which translations are produced? What roles do they play in the lives and aesthetic careers of individual translators in exile? Answers can be found in this book.
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Translation does not work in a vacuum. Making it visible as action in a structured context is the goal of this book. This broad context includes individuals and, more significantly, collective actors-publishers, reviewers and patrons, publishers, journals, social and political organizations. Individually and collectively, they form dynamic, interactive, and interdependent networks. These are essential for translation in exile, as they influence the production and reception of translations both positively and negatively. If they are missing, not only working conditions change, but entire biographies. Newly emerging networks, on the other hand, create the conditions for translating. What are the working and living conditions, the structures of action and publication in which translations are produced? What roles do they play in the lives and aesthetic careers of individual translators in exile? Answers can be found in this book.
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This double issue (12-13/2020-2021) is dedicated to Border(s), a theme that the pandemic context has reconfigured for many activities and societal, mental and behavioral aspects. Paradoxically, the borders considered sovereign and therefore absolute have never been permanent: history, geography and their historiography bear witness to this. They are all the less so in translation. As soon as a linguistic border arises, the desire and the duty to cross it arise too. Linguistically speaking, translators have always transgressed "physical" borders and, for several decades now, digital borders. The translators' task is to legally cross inter-linguistic, semiotic and mental boundaries, while taking care to preserve the intellectual property of the translated author, as well as the meaning of the translated texts, and to protect reception in the target language.
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The first issue of the Translationes journal brings together studies that take into account, in addition to attempts to (re-)define the cultureme, translation analyses and critiques that aim to examine both the nature of the cultureme and the nature of interlingual transfers, as well as the purpose of translations, without forgetting that, after all, translation remains a matter of interpretation.
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Translation does not work in a vacuum. Making it visible as action in a structured context is the goal of this book. This broad context includes individuals and, more significantly, collective actors-publishers, reviewers and patrons, publishers, journals, social and political organizations. Individually and collectively, they form dynamic, interactive, and interdependent networks. These are essential for translation in exile, as they influence the production and reception of translations both positively and negatively. If they are missing, not only working conditions change, but entire biographies. Newly emerging networks, on the other hand, create the conditions for translating. What are the working and living conditions, the structures of action and publication in which translations are produced? What roles do they play in the lives and aesthetic careers of individual translators in exile? Answers can be found in this book.
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"What is life? A frenzy. What is life? An illusion, a shadow, a fiction; and the greatest good is fleeting, for all life is a dream, and even dreams are but dreams."That is the haunting lesson learned by Prince Sigismund in Life's a Dream ( La vida es sueno ), the best known and most widely admired play of Catholic Europe's greatest dramatist, Pedro Calderon de la Barca. Calderon's long life (1600-1681) witnessed the pinnacle and collapse of Spanish political power as well as the great flowering of classical Spanish literature. He inherited his dramatic principles from his brilliant predecessor, Lope de Vega, perfecting his formula with more economical plots, greater subtlety of thought, and, in some cases, deeper character development and psychological insight. The English Romantic poet, Percy Bysshe Shelley, one of the first translators of Calderon into English, was of the opinion that he "exceeds all modern dramatists, with the exception of Shakespeare, whom he resembles, however, in the depth of thought and subtlety of imagination of his writings, and in the rare power of interweaving delicate and powerful comic traits with the most tragical situations."Nowhere is Calderon's talent more evident than in Life's a Dream, the poignant tale of a prince imprisoned at birth by his astrologer-king father and liberated on the same day a beautiful woman stumbles into his life. The interwoven themes of love, loss, power, and destiny make it the peer of such plays as Oedipus and Hamlet. With the collaboration of Jonathan Thacker of Merton College, Oxford, Michael Kidd (Augsburg College, Minnesota) offers a British adaptation of his award-winning American prose translation, recipient of the Colorado Endowment for the Humanities Publication Prize in 2004. The volume comes with a generous set of supplementary materials including critical introduction, translator's notes, suggestions for directors,bibliography, and glossary.
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