Academic literature on the topic 'Dahl, roald, 1916-1990'

Concerning the study of children’s literature, contemporary ecocritical research proposes to analyze how ecological narratives diverge from the logic of alienation, hierarchy and domination and move towards inspiring community and interdependence. Roald Dahl’s (1916-1990) respect and deep knowledge of nature and animals are rendered in most of his children’s novels, depicting underdogs working together to defeat oppression and abuse of power. Given that these stories have long been part of popular culture, as well as the school curricula, this paper studies them from an ecological perspective arguing that, through similar re-readings, these narratives could inspire environmental consciousness and agency in young readers.

Los estudios de Teoría de la literatura sobre Literatura infantil y juvenil, aunque han aumentado en las últimas décadas, todavía hoy siguen vinculándose al panorama educativo y, por ello, tanto obras como autores son ignorados por la preceptiva literaria. En este trabajo se pretende, mediante la aplicación de la teoría genettiana en su variable tiempo de la enunciación, analizar la polimodalidad temporal en una obra de un autor de sobrado prestigio, La maravillosa medicina de Jorge (1981) de Roald Dahl (1916-1990), para evidenciar desde una perspectiva teórico-literaria su indudable calidad.

El escritor en lengua inglesa Roald Dahl (1916-1990) es un referente ineludible de la literatura infantil de mediados del siglo XX. En sus novelas Charlie y la fábrica de Chocolate (1964) y Matilda (1988), el simbolismo culinario se configura alrededor de tres estrategias narrativas fundamentales para su poética: representar las relaciones de poder, subvertir la tradición de la literatura infantil en tanto género “didáctico” o aleccionador y funcionar como un elemento de transformación al interior de las tramas. Partiendo del cuento de hadas tradicional, Dahl reinventó la tradición literaria para niños y configuró un universo metafórico donde las relaciones de poder entre niño y adulto se ven trastocadas. Al utilizar la comida como signo polisémico para retratar y resignificar las relaciones de poder entre niños y adultos, Dahl subvierte y rinde homenaje a la literatura infantil clásica y a los cuentos de hadas tradicionales.

On December 5, 1960, 4-month-old Theo Dahl, the only son of best-selling author Roald Dahl (1916–1990), had his skull shattered in a horrific traffic accident. What began as a personal tragedy for the Dahl family would soon evolve into a dogged crusade by Dahl to expand upon preexisting valve technology with the goal of developing a shunt that would not become obstructed. Based upon exclusive access to private archives of the Dahl estate, as well as interviews with those involved, this article tells the intricate tale of one famous father's drive to significantly alter the natural history of pediatric hydrocephalus. Dahl's collaboration with British toymaker Stanley Wade and pioneering pediatric neurosurgeons Joseph Ransohoff, Kenneth Shulman, and Kenneth Till to create the Wade-Dahl-Till (WDT) valve is examined in detail. The ensuing rift between the American and British contingents, the valve's multiple design revisions, and the goal of creating an affordable shunt for children in developing countries are among the issues addressed. The development of the WDT valve marked a significant turning point in the surgical management of pediatric hydrocephalus in general and in shunt valve technology in particular.

The article deals with the study of such black humour aspects as the history of its appearance and attempt of distinguishing among the other types of the comic category, namely humour, irony, satire, and sarcasm. The material of the study is the works of small forms, the authentic story “Pig” in particular, by Roald Dahl (1916–1990), the most prominent representative of the English-language literature of the 20th century. The aim of the article is to describe the methodology suggested by the author for identifying black humour from the material of a literary prose text. Achieving the overall goal presupposes the solution of the following objectives. Thus, the history of development and the tradition of theoretical understanding of the “black humour” term have been traced. An interpretation of the specified term based on native and foreign interpretive sources has been provided and the leading criteria for its differentiation among the varieties of the comic category have been identified. The author considers the peculiarities of R. Dahl’s creative method, whose poetics is characterised by a clearly expressed black-humorous component. The article also specifies the algorithm for identifying black humour in prose works, which involves the use of three groups of analysis methods (linguistic, semasiological and communicative). Using the example of an English-language story, the author proves the expediency of applying the following components of linguistic methods, namely: definition of the unit of study, characterisation of the context, analysis of language units. The following methods and techniques were used to achieve the general aim of the research, such as: observation method, compositional analysis, contextual analysis, and semantic-stylistic analysis. We interpret black humour as one of the varieties of a comic category; as humour with an admixture of cynicism, the comic effect of which consists in mocking ‘gloomy’, macabre topics; as an ironic-bitter smile of a person about his / her miserable situation in the real world. It is proved that the unit of research of black humour is a complex syntactic whole, which in the compositional and thematic substance contains all the necessary structural elements – the beginning, the development, and the ending. The means of connection are repetitions of lexical units within two consecutive phrases, anaphoric clarifying phrase, anaphoric pronoun, parallelism. An important feature of grammatical organisation is the agreement (in a broad sense) of verb tense forms, which leads to the creation of a common tense perspective of the narrative. Modal verbs, particles, adverbs, and special intonation are used as means of expressing subjective modality. A typical feature of the question-answer complex is the use of elliptical sentences. An analysis of language units at different levels determines the emphasis on the macabre element – death that is tragicomically considered in the story. The compositional and speech means of organising black humour is based on opposition, antonymy of lexical units, contrast. The functioning of hyperbole, verbal and situational irony, and paradox are frequent at the lexical and semantic level. Typical means at the syntactic level are overinterrogations and explanations based on repetitions with an evaluation of what was heard. This evaluation is expressed by declarative, exclamatory or interrogative sentences. The graphic emphasis, which is created by means of italics, focuses on the meanings emphasised by interrogative words, auxiliary and notional verbs. Paralinguistic means help to reveal the protagonist’s emotions and thoughts. The perspective of the study presupposes a description of semasiological and communicative methods as components of the algorithm, which, together with linguistic methods, allows a more complete understanding of the explication of black humour in a literary prose work.

O obxectivo deste breve artigo é analizar o uso da técnica cinematográfica do stopmotion en dúas películas de animación baseadas en James and the Giant Peach (1961) e Fantastic Mr. Fox (1979), da autoría de Roald Dahl (United Kingdom, 1916-1990), profundando no proceso de adaptación ao formato audiovisual tendo en conta a retórica do relato fantástico. A primeira delas é unha película de Walt Disney Pictures, producida por Tim Burton e Denise di Nove, dirixida por Henry Selick e estreada en 1996; a segunda delas foi producida por Indian Paintbrush e Regency Enterprises, dirixida por Wes Anderson e estreada en 2009. Polo tanto, farase un pequeno marco teórico sobre a Literatura Infantil e Xuvenil fantástica, o cinema de animación e a influencia que a semiótica de ambas linguaxes ten na adaptación resultante da súa combinación.

Dissertação de mestrado em Tradução, apresentada à Faculdade de Letras da Universidade de Coimbra
Este trabalho pretende centrar-se na obra Charlie and the Chocolate Factory, de Roald Dahl, analisando duas traduções portuguesas. O objectivo principal consiste em proceder ao levantamento de problemas de tradução, com base no critério se tratar de marcadores culturais, e, através da aplicação do modelo de Gideon Toury e dos conceitos de acceptability e adequacy, tirar conclusões relativamente às estratégias adoptadas pelas tradutoras das duas edições portuguesas. Será que dão preferência ao contexto de chegada, fazendo adaptações culturais ou lexicais com o objectivo de facilitar a leitura e a compreensão do leitor? Ou dão primazia ao texto de partida, trazendo a realidade cultural estranha até ao contexto de chegada? É esta a questão a que pretendemos dar resposta.
The centre of this work is Roald Dahl’s Charlie and The Chocolate Factory. We aim to analyze two Portuguese translations of this book, by selecting some translation problems, on the basis that they are cultural markers. We will resort to the concepts of acceptability and adequacy, introduced by Gideon Toury, and draw conclusions as to the translation strategies followed by the two translators. We will try to determine if the translation is more target-oriented and thus the translator makes cultural or lexical adaptations, or if the translation is more source-oriented and the translator brings the foreign culture into the target context. This is the central question we are trying to answer.