Voices in Translation: Bridging Cultural Divides
In choosing to render dialect and vernacular speech into Scots, Bill Findlay, to whose memory this volume is dedicated, made a pioneering contribution in safeguarding the authenticity of voices in translation. The scene of the book is set by an overview of approaches to rendering foreign voices in English translation including those of the people to whom Findlay introduced us in his Scots dialect versions of European plays. Martin Bowman, his frequent co-translator follows with a discussion of their co-translation of playwright Jeanne-Mance Delisle. Different ways of bridging the cultural divide in the translation between English and a number of plays written in a number of European languages are then illustrated including the custom of creating English versions, an approach rejected by contributions that argue in favour of minimal intervention on the part of the translator. But transferring the social and cultural milieu that the speakers of other languages inhabit may also cause problems in translation, as discussed by some translators of fiction. In addition attention is drawn to the translators' own attitude and the influence of the time in which they live. In conclusion, stronger forces in the form of political events are highlighted that may also, adversely or positively, have a bearing on the translation process.
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Similarly , the adoption of English working - class regional idioms , such as
Liverpudlian in the case of Peter Tinniswood ' s adaptation of Eduardo De Filippo
' s Napoli Milionaria in 1991 , helped to convey the social status of De Filippo ' s ...
The Gielgud version was one of the first of what would be a new wave of
adaptations , the text being accredited to Gielgud , ' from a translation by Ariadne
Nicolaeff ' . In 1967 new ground was again broken with an adaptation of Three
In an illuminating introduction to his new version of The Seagull , commissioned
by Peter Hall for the Old Vic in 1997 , Tom Stoppard touched upon the difficulties
of adaptation , and of grappling with what he called the ʻledger principle of ...
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The Vernacular Journey
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