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The play Macbeth has been rendered in Romanian by ten translators and some of the printed versions are still read and used today. The translation that makes the object of our analysis is not one of these, but, rather, one that has been doomed to forgetfulness. The present paper aims at bringing back to memory both Vasile Demetrius, the translator, a hard working but failed intelectual that proved utterly unable to make his work visible, and the translation that shared the fate of its translator and stirred little interest at the time. This article is focused on the reestablishing of the historical truth regarding the publication of Demetriusřs version. At the same time, the text of the translation is analysed at all the levels of language, in an attempt to document the state of the Romanian language in the first half of the 20th century.
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Translating classical texts raises the issue of rendering not only the lexical and cultural complexities of a different culture but also filling in the age gap for the modern reader no longer aware of certain social standards, connotations, etiquette etc. To what extent do we operate on a text, do we overwrite or remain faithful to the writer? The article compares two versions of the same translation of G.B.Shawřs Pygmallion, both authored by Petru Comarnescu. The first translation was published in 1963, while Comarnescu was still alive, and is quite a remarkable one. The second translation was published in 2015, 45 years after Comarnescuřs death, with his name on the cover yet with alterations which are at times questionable, if not unprofessional. With the obvious intent of making Shaw accessible to young generations, the editors of the 2015 translation took advantage of the Ŗall rights reservedŗ stipulation and reshaped it to what they deemed to be a desirable form.
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In this article we will focus on the use of address pronouns and someritual formulas in religious language, in the way one address to the Deity,meant as a living presence, absent or depicted in the icons, analyzing someprayers or parts of prayers, of psalms etc. in the Orthodox or Catholic rite, inRomanian, Italian, Spanish and Portuguese, insisting on the use of the mysticaland intimate address pronoun TU. We also refer to some greetings and otherritualistic forms which came forward in ceremonious situations.
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The present contribution proposes a hermeneutically- andsocioanthropologically-based approach to Catalina Guzmán de Ascencio’sascent in a men’s world, as depicted by Ángeles Mastretta in the novelArráncame la vida (1985). In order to successfully make out the inner workingsof the protagonist’s developing identity, we seek to analyze more closely thedriving force behind the adultery committed, and, in so doing, we hope to pindown the axiological tenets of feminine behaviour, more specifically, to traceher ontogenetic evolution back to its fons et origo, with a view to capturing thepsychological profile of this very young Mexican adulteress by zooming in onseveral phases of her search for a new identity, or patterns followed inconstructing her femininity. Thus, her growing awareness of the power residingin this femininity, which, as she matures, makes for her conversion from victiminto victimizer, from the perfect ingénue into Mrs. Ingenuity, from a humbleimitator into a fierce combatant, or from a rather dependent and self-effacinggirl into a fairly independent and self-assertive woman, adduces supportingevidence for our claim that facing us is the perfect case of constructing thefeminine identity at the expense of the masculine alterity, or, worse even, bymore or less abruptly destroying one’s inner self. In the light of the above,while upsetting tradition, general Ascencio’s highly atypical spouse can beviewed as in fact setting up a new typology in the literary genre documented,since, even if a genuine representative of Feminism still very much in itsinfancy, she did after all revolutionize the spirit of that epoch. Finally, bybringing allegory to bear on the interpretation of this novel, we venture to construe Catalina Guzmán de Ascencio as an epitome of the Mexican lifephilosophy in particular, and, by extension, of the spiritual HispanoAmericanicity at its ripest, and last but not least, as a personification of thedecolonized “Motherland” as well as a feminine symbol of the fate of HispanicAmerica at large.
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This paper analyzes the online media representation of Rehana, afemale fighter against the Islamic State. By using different theoretical lenses,such as critical discourse analysis and semiotic analysis, Rehana’s portrayal in online articles is deconstructed. Romanticized myths of female fighters havemany times been a feature of (media) narratives on war. However, scholarsargue that female fighters have continuously been framed in narratives whichconform to gender stereotypes instead of challenging those. The same can beobserved in this discourse: Rehana is described as an angel and a glorifiedcounter-player to ruthless Islamic State fighters. Rehana herself however has novoice in this discourse and her individual story and agency is undermined.
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Literary works are a constant topic of commentary.Literary texts carry specific metalinguistic and metapragmaticelements and require metalinguistic and metapragmatic codesand competences in order to prevent misunderstanding. Ourpaper aims to highlight the reasons for attaching themetatextual label to Eugène Ionesco’s dramatic work.Ionesco’s plays can be viewed as some sort of comment onprevious dramatic texts defying the traditional theatricalconventions. Remarks on literature and art appear all throughhis life : in critical texts, as well as in his characters’statements. Metatextual comment is deeply embedded in theproduction of dramatic text itself and is placed at the naturalconfluence of the playwright and the reader, that is of the onewho writes the plays and the one who watches his writing.
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Life stories, fictional biographies, biofictions,biographical novels, imaginary life, etc. have been one of themajor trends in French literature in the recent decades. Ourarticle deals with the analysis of the paratext (titles, subtitles,titles genre, epigraphs, editorial indices, etc.) which frame andrepresent these texts. We know that the paratext is notsecondary to text understanding, since, both literally andmetaphorically, it is the very threshold thereof and generatesthe reader’s first horizon of expectations. Actually, we supposethat the latter highlights the ambiguity generated in turn by theexistence of two pacts, of which the texts under study are ashining example.Admittedly, from a certain point of view, itseems that the paratext anchors the story in the “real world”,because it states, explicitly or implicitly, that the characterwhose life is recounted is a person who really existed (it iscommon knowledge that denotative or referential functions arecharacteristic of the biographical project). Sometimes,however, simultaneously and contradictorily, other paratextualindications (such as “novel”, “collection”, “fiction”, etc.)introduce a pact of fictional reading. In short, the paratext sometimes seems to indicate that “there is nothing true, nothingfalse” (Lamartine) in what we are about to read. We thenexamine the strategies of the paratext which establish thebiographical discourse, as well as the relationship representedin the texts by the pair “biographé / biographant”. In the finalphase of the approach we identify the main functions differentparatextuals can have in literary works as well as inbiographical discourse.
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The present paper offers an analysis of the so-called ”decorative (or ornamental) English”, as it appears in Japanese advertisements and various announcements. We make a clear distinction between English loanwords, wasei-eigo (‘made-inJapan’ English) and decorative English and we address the question of whether the function of decorative English is to merely accessorize the message or to become a constitutive element of the message itself, with its own particular functions. Instances of ornamental English have been generally considered as having little or no communicative function, but if we examine them closely, we discover a deeper level, where such linguistic forms are interwoven with the other explicit message components – utterances in Japanese or images – creating a network of intra-textual relations, which incorporates the expressive function of these apparently nonsensical expressions.
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In the present article, interculturality - which implies theexistence of variation, recognition/ acceptance and cultivation of thisvariation - is associated with interlinguism. My analysis proposes thepresentation of interculturalism and interlinguism as realities which involveother particular relations: culturalisation – intraculturalisation –interculturalisation and their consequences in the usage of the linguisticelements in certain contexts. While particularizing these aspects, I willconsider, on the one hand, certain linguistic hypostases in the Romanianmass-media as reflections of interculturalism and, on the other hand, certainarguments that the latest A Dictionary of Romanian Orthography, Orthoepyand Morphology (DOOM, 2005) provides for the inclusion in the Romanianlanguage of the lexical units which characterize other cultures. In this way Iunderline the features of interlinguistic reality located – in practice –between the culture and vehicle of communication.
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The paper analyses Chinua Achebe’s Anthills of the Savannahand its French translation Les Termitières de la Savane in order to bring tothe fore areas of identity and differences between the original text and itsFrench version in the handling of the linguistic and cultural situations in thetranslating process. The paper adopts a comparative approach and concludesthat in spite of the cultural and linguistic challenges faced by the translator,facing us is a faithful translation of the text.
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La recherche du XXIe siècle dans le cadre des scienceshumaines en général semble être caractérisée par une fortetendance à l‘interdisciplinarité, qui apparaît, en plus, comme unsine qua non de toute approche scientifique. Pour certainesdisciplines notamment, l‘interdisciplinarité peut être mêmeconsidérée comme un trait constitutif. Dans la série de cesdomaines d‘étude, la traductologie, discipline d‘ailleurs très jeune,car elle vient à peine de gagner son autonomie, se plieparfaitement aux recherches de type inter- ou même pluridisciplinaire. Ceci en vertu tout d‘abord de ce que nous pourrionsappeler la nature protéiforme de l‘objet d‘étude de latraductologie: la traduction peut être en effet vue comme acte etSince linguistics is nowadays an interdisciplinary field, translatingtheoretical texts belonging to the linguistic province is a complex activitywhich requires, on the one hand, specific strategies and instruments, and, on theother hand, particular competences from the translator/ editor. Our paperdiscusses and illustrates this specific case of translation, on the basis ofexamples of translated texts from French into Romanian belonging to thesubfields of pragmatics and textual linguistics, with a focus on issues such asterminology, corpus, citations and paratext in translation.
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