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Journal articles on the topic 'English drama – Translations into Tsonga'

Author: Grafiati

Published: 4 June 2021

Last updated: 16 February 2022

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1

Merino, Raquel. "Drama translation strategies." Babel. Revue internationale de la traduction / International Journal of Translation 46, no. 4 (2000): 357–65. http://dx.doi.org/10.1075/babel.46.4.05mer.

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This paper, which deals with drama translations in Spain (English-Spanish) from 1950, presents the results of a four-stage analysis carried out on a large corpus of translated plays. Starting from the assumption that theatre is part of the field of drama (which includes cinema and television, among other spectacles), and taking into account drama’ś inherent specificity (written to be performed), as well as its peculiar structure (dialogue versus prose) this study on translated drama posits, as a starting point, an inherently dramatic unit (réplica) which is instrumental in describing and compa

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2

Locher, Miriam A. "Moments of relational work in English fan translations of Korean TV drama." Journal of Pragmatics 170 (December 2020): 139–55. http://dx.doi.org/10.1016/j.pragma.2020.08.002.

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Čermák, František, and Aleš Klégr. "Modality in Czech and English." International Journal of Corpus Linguistics 9, no. 1 (2004): 83–95. http://dx.doi.org/10.1075/ijcl.9.1.05cer.

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The paper examines two kinds of modality exponents and their interlingual relationships, using an aligned parallel minicorpus of two contemporary Czech originals (drama and novel) and their English translations. It focuses on four most frequent Czech adverbial particles of possibility/approximation:snad, mozná, asi, nejspíe,and the Czech conditional mood marker by in the texts and their equivalents. It contrasts the findings with the equivalents in the latest and largest Czech-English dictionary. The results confirm that in either case the lexicographic description is insufficient both in the

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Fan, Shouyi. "Translation of English Fiction and Drama in Modern China: Social Context, Literary Trends, and Impact." Meta 44, no. 1 (2002): 154–77. http://dx.doi.org/10.7202/002717ar.

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Abstract This article, which is organized along a chronological-thematic framework, will briefly review the early days of translating American and British fiction and drama into Chinese, the social context in which these translations were done, the literary ideas which have affected the work of Chinese writers, and the social impact that translated works of literature and literary theory have had in various periods of literature. The bottom line is that the literary works introduced to China to date represent only the tip of the iceberg. We need more quality translations for Chinese readers an

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ZUYENKO, M. "MYTHOPOEIC PARADIGM IN ENGLISH BAROQUE DRAMA (JOHN WEBSTER “THE WHITE DEVIL”)." Philological Studies, no. 33 (April 19, 2021): 56–58. http://dx.doi.org/10.33989/2524-2490.2020.33.228234.

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The article deals with the mythopoeic analysis of the play of revenge “The White Devil” by John Webster. The historical background of the play is also under examination. The tragedy “White Devil” (1612) is known in the translations by I. Aksenov, T. Potnitseva. The genre of tragedy in the XVII th century reflects the writers’ appeal to the biblical text and its transformation in motives, images, stylistic and generic systems, this tradition is particular important for the baroque writers, the constant feature of the English dramaturgy of the XVIIth century is appeal to the antique mythology an

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Komporaly, Jozefina. "Translating Hungarian Drama for the British and the American Stage." Hungarian Cultural Studies 14 (July 16, 2021): 164–75. http://dx.doi.org/10.5195/ahea.2021.434.

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Reflecting on my experience of translating contemporary Hungarian theater into English, this paper examines the fluidity of dramatic texts in their original and in translation, and charts collaborations between playwrights, translators and theater-makers. Mindful of the responsibility when working from a “minor” to a “major” language, the paper signals the discrepancy between the indigenous and foreign ‘recognition circuit’ and observes that translations from lesser-known languages are predominantly marked by a supply-driven agenda. Through case studies from the work of Transylvanian-Hungarian

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Winston, Jessica. "Seneca in Early Elizabethan England*." Renaissance Quarterly 59, no. 1 (2006): 29–58. http://dx.doi.org/10.1353/ren.2008.0232.

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AbstractIn the 1560s a group of men associated with the universities, and especially the early English law schools, the Inns of Court, translated nine of Seneca’s ten tragedies into English. Few studies address these texts and those that do concentrate on their contributions to the development of English drama. Why such works were important for those who composed them remains unclear. This essay examines the translations against the background of the social, political, and literary culture of the Inns in the 1560s. In this context, they look less like forms of dramatic invention than kinds of

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Mateo, Marta. "Successful strategies in drama translation: Yasmina Reza’s “Art”." Meta 51, no. 1 (2006): 175–83. http://dx.doi.org/10.7202/013006ar.

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Abstract Yasmina Reza’s “Art” has been widely acclaimed ever since it opened in Paris in 1994: the different productions which have followed the French original in more than 40 countries have enjoyed equal success. This success, both among audiences and critics, may be attributed to the play’s universal themes, to the tone and richness of its dialogue and to the good acting most productions have displayed. But the fact that the play has been appreciated in so many different countries and languages inevitably implies that translation is also at the centre of its success. This paper analyses two

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Alix-Nicolaï, Florian. "Exile Drama: The Translation of Ernst Toller's Pastor Hall (1939)." Translation and Literature 24, no. 2 (2015): 190–202. http://dx.doi.org/10.3366/tal.2015.0201.

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Ernst Toller's Pastor Hall, one of the first plays to depict life in a concentration camp, counts among the few anti-Nazi dramas translated into English before World War Two. The process by which it came to the British stage reveals the impact of censorship on authors and translators of anti-Fascist plays. It also reveals conflicting aesthetic strategies to tackle fascism. While Toller relied on straightforward documentary realism, one of his translators, W. H. Auden, championed anti-illusionism and distrusted propaganda art. In the cultural fight to reclaim Germany's heritage from the Nazis,

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Li, Nannan. "Lao She’s Teahouse and Its Two English Translations: Exploring Chinese Drama Translation with Systemic Functional Linguistics." WORD 67, no. 2 (2021): 234–36. http://dx.doi.org/10.1080/00437956.2021.1912263.

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Vaseneva, Nadezhda Vladimirovna. "Reception of the B. Shaw’s play "Pygmalion" in Russian literature." SHS Web of Conferences 101 (2021): 01004. http://dx.doi.org/10.1051/shsconf/202110101004.

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The article is devoted to the analysis of reception of B. Shaw's play «Pygmalion» in Russian literature. The article emphasizes that Russian literature had a huge impact on the formation and development of B. Shaw's aesthetic system and drama, as a result of which B. Shaw's drama acquired an epic character. The standard of «epic drama» is B. Shaw's play «Pygmalion». The extreme popularity, relevance and significance of B. Shaw's comedy «Pygmalion» for Russian literature are noted. The article examines translations of B. Shaw's play «Pygmalion» and individual-author's interpretations of Russian

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Urban, Anna. "Die kleine House-Apotheke: Reception of the American, German and Polish Gregory House and Varied Translations of the Pronoun you." Research in Language 10, no. 3 (2012): 313–21. http://dx.doi.org/10.2478/v10015-011-0032-y.

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Two audiovisual translations of the American hit medical drama, House M.D., German dubbing and Polish voiceover, and the analysis of translation strategies of the pronominal form of address you are the point of departure for choosing the right strategy for translation of the German book written by Michael Reufsteck and Jochen Stöckle Die kleine House-Apotheke. Ein Beipackzettel zur Kultserie which is the first German guide to the hit medical drama, providing unique insight into making of each episode of the first three series. The comparison of the two translation strategies - the German and t

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Xiaofei, Ren, Feng Qinghua, and Wang Nan. "A translator on the target stage." Babel. Revue internationale de la traduction / International Journal of Translation 56, no. 4 (2010): 363–76. http://dx.doi.org/10.1075/babel.56.4.05xia.

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Ying Ruocheng, an admirable artist in China and abroad, was responsible for the translation and production of many foreign plays in China and Chinese plays abroad, with which Ying played an important role in transforming China’s cultural life, encouraging international exchange and promoting modern drama. Based on his experience in drama and film acting and directing as well as translating, he argues that the major concern of theatre translation is its performability and speakability, which can be achieved through the recreation of the orality and gestic text with each role’s unique discourse

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Ngai, Cindy S. B. "Representations of the dead and the afterlife in translations of Mudan Ting, a masterpiece in Chinese Kunqu theatre." Babel. Revue internationale de la traduction / International Journal of Translation 62, no. 2 (2016): 191–210. http://dx.doi.org/10.1075/babel.62.2.02nga.

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The aim of this paper is to identify and analyze the strategies used to translate into English death related cultural taboos viz. death, ghost and resurrection represented in the prominent classical Chinese drama Mudan Ting. Particular reference is made to the articulation of these taboos in three seminal English versions of Mudan Ting (as Peony Pavilion) by Cyril Birch, Wang Rongpei and Zhang Guanqian, respectively. Although these translators all follow the source text closely, certain differences in their translation strategies warrant attention. Cyril Birch takes an acculturation approach t

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Karnad, Girish. "Performance, Meaning, and the Materials of Modern Indian Theatre." New Theatre Quarterly 11, no. 44 (1995): 355–70. http://dx.doi.org/10.1017/s0266464x00009337.

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Girish Karnad is not only India's leading playwright, and a practitioner across the performing arts in all that nation's media, but the first contemporary Indian writer to have achieved a major production in a regional American theatre – Naga-Mandala, seen at the Guthrie Theatre in July 1993. The following interview was recorded on the occasion of that production, and ranges widely not only over Karnad's own work and its circumstances, but the situation and problems of the Indian theatre today, and its ambivalent relationship alike to its classical and its colonial past, and to the contemporar

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Arhire, Mona. "Cătălina Iliescu-Gheorghiu: a polysystemic model for the comparative analysis of drama from the perspective of descriptive translation studies." Swedish Journal of Romanian Studies 3, no. 1 (2020): 259–64. http://dx.doi.org/10.35824/sjrs.v3i1.20438.

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This review presents a recently published book authored by Cătălina Iliescu Gheorghiu, an academic actively involved in Romanian studies and a translator of Romanian literature. As the title suggests, it is a study that falls under the scope of Descriptive Translation Studies implying the polysystemic model posited by Lambert and Van Gorp for the comparative analysis of drama. The corpus under scrutiny is made up utterances extracted from the play A treia țeapă (The Third Stake) by Marin Sorescu and the corresponding utterances from two of its translations into English. The analytical part i

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Mahfouz, Safi Mahmoud. "Tragedy in the Arab Theatre: the Neglected Genre." New Theatre Quarterly 27, no. 4 (2011): 368–85. http://dx.doi.org/10.1017/s0266464x11000686.

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In this article Safi Mahmoud Mahfouz investigates the current state of tragedy in the Arab theatre and suggests some of the reasons behind the lack of an authentic Arabic tragedy developed from the Aristotelian tradition. Through analyses of the few translations and adaptations into Arabic of Shakespearean and classical tragedy, he both confirms and questions the claims of non-Arabic scholars that ‘the Arab mind is incapable of producing tragedy’. While the wider theatre community has been introduced to a handful of the Arab world's most prominent dramatists in translation, many are still larg

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Whissell, Cynthia. "Challenging an Authorial Attribution: Vocabulary and Emotion in a Translation of Goethe's Faust Attributed to Samuel Taylor Coleridge." Psychological Reports 108, no. 2 (2011): 358–66. http://dx.doi.org/10.2466/28.pr0.108.2.358-366.

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This article disputes the stylometric attribution of an anonymous English 1821 translation of Goethe's German verse drama Faust to the poet and critic Samuel Taylor Coleridge. The translation was compared to four known Coleridgean dramas, two of which were translations from German. Evidence challenging Coleridge's authorship came from words used proportionally more often by Coleridge, words used proportionally more often by the unknown translator, differential employment of parallel word forms (“O” and “hath” for Coleridge, “oh” and “has” for the translator), and differences in the undertones

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19

Wolf, Michaela. "“The Translation Cuddles up to the Original Like the Sheep to the Wolf” Nobel Prize Winner Elfriede Jelinek as a Translator1." TTR 25, no. 2 (2013): 119–41. http://dx.doi.org/10.7202/1018805ar.

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Elfriede Jelinek’s stance towards translation is full of respect: her own experiences as a translator showed her that what she primarily did was “learning by doing.” Jelinek has produced about a dozen translations from English and French into German, mostly drama texts. As an author, she became famous for the innovative and provocative language with which she denounces patriarchal structures, the enduring oppression of women, and the insidious continuation of fascist ideology in Austria and other parts of Europe. Yet her model of literature bluntly opposes her model of translation. She has rep

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Pasenchuk, N. "Social and Cultural Context of the Dramatic Text: Problems of Reproduction (based on the Ukrainian and Russian translations of Williams Tennesse’s play «The Glass Menagerie»)." Studia Linguistica, no. 12 (2018): 85–97. http://dx.doi.org/10.17721/studling2018.12.85-97.

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The article is devoted to the problem of translation of the drama. The article focuses on revealing peculiar linguistic and stylistic features of the drama. The research has been done on the case study of Russian and Ukrainian translation variants of the drama text by T.Williams «The Glass Menagerie». Basic methods of translation are investigated in the article. On the basis of comparative analysis the author investigates the problem of lexico-semantic transformations in translation of the drama. There has been proved that lexico-semantic transformations play an important role in the process o

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Acadia, Lilith. "Conquering Love." Common Knowledge 26, no. 3 (2020): 407–30. http://dx.doi.org/10.1215/0961754x-8521507.

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In a contribution to a symposium on xenophilia, this essay — a study of Brian Friel’s 1980 play Translations — raises the question of whether all xenophilia is by nature doomed to fail. Set in Ireland in 1833, the drama centers on the tension arising from a young British lieutenant’s falling in love with an Irish-speaker while he is in her country to translate Irish place-names into English for an imperial cartographic survey. While the lieutenant is referred to in the play as a Hibernophile, the essay interprets his love as xenophilic: love for the foreignness rather than the Irishness of wha

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Uzzaman, Sharif. "Underlying Aspects in Tagore’s Translation Of Red Oleanders: A Critical Reading." Journal of Critical Studies in Language and Literature 2, no. 4 (2021): 20–26. http://dx.doi.org/10.46809/jcsll.v2i4.74.

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Though Rabindranath Tagore’s works have been studied and praised for decades around the world, his struggles to reconcile cultural as well as linguistic differences between English and his native tongue, Bengali through translations of his works have largely been overlooked. This paper though a comparative study between Tagore’s drama Raktakarabi and its translated version Red Oleanders, seeks to find out how Tagore deals with various cultural, literary and linguistic issues that have arisen during the translation and whether the differences between two languages with distinct natures and uniq

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Jurak, Mirko. "Jakob Kelemina on Shakespeare's plays." Acta Neophilologica 40, no. 1-2 (2007): 5–49. http://dx.doi.org/10.4312/an.40.1-2.5-49.

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Among Slovene scholars in English and German studies Jakob Kelemina (19 July 1882- 14 May 1957) has a very important place. Janez Stanonik justly places him among the founding fathers of the University of Ljubljana (Stanonik 1966: 332). From 1920 Kelemina was professor of Germanic philology and between 1920 and 1957 he was also the Chair of the Deparment ofGermanic Languages and Literatures at the Faculty of Arts of this university. The major part of Kelemina's research was devoted to German and Austrian literatures, German philology, German-Slovene cultural relations, and literary theory; his

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Schmitt-Kilb, Christian. "The End(s) of Language in Brian Friel’s Translations and Enda Walsh’s Disco Pigs and misterman." Scenario: A Journal of Performative Teaching, Learning, Research III, no. 2 (2009): 61–70. http://dx.doi.org/10.33178/scenario.3.2.5.

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In my analysis of Brian Friel's modern classic drama Translations (1980) and Enda Walsh's plays Disco Pigs (1996) and misterman (2001), I have chosen not to consider these in order to point towards structural or plot parallels between the plays, nor to emphasise the interdependency of the two authors; I am instead concerned with their differences, particularly with differences in their approach to language as a medium of (often failed) communication. I would like to suggest that it is possible to read the plays as signs of their times within an Irish context. At the time of its first staging i

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Salvadori (book author), Corinna, Peter Brand (book author), Richard Andrews (book author), and Pamela Arancibia (review author). "Overture to the Opera. Italian Pastoral Drama in the Renaissance. Poliziano’s Orfeo and Tasso’s Aminta with Facing English Verse Translations." Quaderni d'italianistica 34, no. 2 (2014): 178–79. http://dx.doi.org/10.33137/q.i..v34i2.21046.

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Plastow, Jane. "Theatre of Conflict in the Eritrean Independence Struggle." New Theatre Quarterly 13, no. 50 (1997): 144–54. http://dx.doi.org/10.1017/s0266464x00011003.

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Eritrea is a newly independent country whose performing arts history, based on the music and dance of her nine ethnic groups, is only just beginning to be systematically researched. Western-influenced drama was introduced to the country by the Italians in the early twentieth century, but Eritreans only began to use this form of theatre in the 1940s. The three-part series here inaugurated is the first attempt to piece together the history of Eritrean drama, beginning below with an outline of its history from the 1940s to national independence in 1991. The author explores the highly political ro

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Morozova, Svetlana N., and Dmitriy N. Zhatkin. "Creative work of Edmund John Millington Synge in literary and critical perception of Korney Chukovsky." Vestnik of Kostroma State University, no. 3 (2019): 101–6. http://dx.doi.org/10.34216/1998-0817-2019-25-3-101-106.

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The article considers the specifics of Korney Chukovsky’s perception of dramatic art of Edmund John Millington Synge (1871–1909), one of the greatest personalities of national revival of Ireland. Synge, who created his works in English, not only revived legends of his nation, but also expanded the idea of the Irish national originality, having offered his own vision of the image of an Irish of his time. Korney Chukovsky is the author of one of the first translations of Synge’s dramatic art into Russian (a comedy "The Playboy of the Western World") and of the introductory article to its publica

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Jing, Tan. "On the Formal Equivalence of Translating Classical Chinese Drama <br/>—Centered on the English translations of the Northern Drama <i>Han gong qiu</i> of the Yuan Dynasty." Advances in Literary Study 09, no. 02 (2021): 61–72. http://dx.doi.org/10.4236/als.2021.92008.

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Nielsen, Rosemary M., and Robert H. Solomon. "Horace and Hopkins: The Point of Balance in Odes 3.1." Ramus 14, no. 1 (1985): 1–15. http://dx.doi.org/10.1017/s0048671x00005026.

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In May of 1868, less than two years after Gerard Manley Hopkins left the English Church to become a Roman Catholic and after eight months spent teaching at Newman's Oratory School in Birmingham, the classical scholar burned nearly all of his poetry; he called the act ‘the sacrifice of my innocents’. Austin Warren describes Hopkins as feeling caught through his life between conflicting desires to be a pdet and to be a saint. This strain and the anxieties it produced appear in his later poems, such as ‘The Wreck of the Deutschland’ and ‘Heaven Haven’, and in his journals and letters. In the latt

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Pasenchuk, N. V. "The means of expressing the category of evaluation in translation (case study of Ukrainian and Russian translations of the English drama of Edward Albee "Who's Afraid of Virginia Woolf?")." Science and Education a New Dimension VI(149), no. 42 (2018): 52–55. http://dx.doi.org/10.31174/send-ph2018-149vi42-12.

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ROBSON, JAMES. "Transposing Aristophanes: The Theory and Practice of Translating Aristophanic Lyric." Greece and Rome 59, no. 2 (2012): 214–44. http://dx.doi.org/10.1017/s0017383512000095.

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The reception of Aristophanes has gained extraordinary momentum as a topic of academic interest in the last few years. Contributions range from Gonda Van Steen's ground-breaking Venom in Verse. Aristophanes in Modern Greece to Hall and Wrigley's Aristophanes in Performance 421 BC–AD 2007, which contains contributions from a wide range of scholars and writers, a number of whom have had experience of staging Aristophanes' plays as live theatre. In Found in Translation, J. Michael Walton has also made strides towards marrying the theory of translation to the practice of translating Aristophanes (

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Tittler, Robert. "Anne Lancashire and David J. Parkinson (eds.), Records of Early English Drama: Civic London to 1558. Cambridge: D.S. Brewer, 2015. 3 vols., cciv + 1591pp. Select bibliography. Maps. Symbols. Translations. Glossaries. £195.00; US $340.00 hbk." Urban History 42, no. 4 (2015): 694–95. http://dx.doi.org/10.1017/s0963926815000735.

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Schneider, Federico. "Corinna Salvadori, Peter Brand, and Richard Andrews, eds. Overture to the Opera: Italian Pastoral Drama in the Renaissance: Poliziano’s Orfeo and Tasso’s Aminta with Facing English Verse Translations. Dublin: UCD Foundation for Italian Studies, 2013. 200 pp. €10. ISBN: 978-0-9529261-6-0." Renaissance Quarterly 67, no. 1 (2014): 327–28. http://dx.doi.org/10.1086/676247.

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Krajník, Filip. "„Nejstarší nejvíc nes’”: stáří Shakespearova krále Leara v českých obrozeneckých překladech." Slavica Wratislaviensia 163 (March 17, 2017): 449–62. http://dx.doi.org/10.19195/0137-1150.163.38.

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“The oldest hath borne most”: The old age of Shakespeare’s King Lear in Czech translationsfrom the 18th and 19th centuriesA number of critics have noted the importance of the motif of old age in Shakespeare’s King Lear, chiefly the old age of the play’s eponymous character. Indeed, the King’s age serves in the play as a powerful dramaturgical device, a kind of prism through which the audience sees not just Lear’s character, but also other characters’ deeds and most of the play’s action. When watching the play, the audience is constantly reminded of Lear’s age, both directly, through Lear’s or

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WALKER, GREG. "Kent. Diocese of Canterbury, I: Introduction. The records. Alkham to Canterbury; II: The records. Chart Sutton to Wormshill; religious houses; households; county of Kent; province of Canterbury; diocese of Canterbury; III: Appendixes; translations; endnotes; patrons and travelling companies; glossaries; index. Edited by James M. Gibson. (Records of Early English Drama.) Pp. ccxxiv+301 incl. 3 maps; iii+302–943; iii+944–1,663. London: The British Library/Toronto: University of Toronto Press, 2002. £225 ($500). 0 8020 8726 4." Journal of Ecclesiastical History 55, no. 4 (2004): 777–78. http://dx.doi.org/10.1017/s0022046904571567.

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Luppi, Fabio. "Language Colonization and English Hybridization: The Use of Irish English Lexis in Twentieth Century Irish Drama." 22 | 2020, no. 1 (December 22, 2020). http://dx.doi.org/10.30687/tol/2499-5975/2020/22/035.

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Irish English, albeit a variant of the language of the colonizer, can be considered an important identitarian element in twentieth century Irish literature. By taking into account Irish English terms in a selection of Anglo-Irish plays (with particular focus on the titles), this paper examines the lexical choices that contribute to rendering cultural, geographical and political meanings – some of which are derogatory, patronizing and pejorative. The conclusion, with reference to Brian Friel’s Translations, reflects on the implications of the dominance of English in Ireland following its replac

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Peña-Cervel, María Sandra, and Carla Ovejas-Ramírez. "Simple and complex cognitive modelling in oblique translation strategies in a corpus of English–Spanish drama film titles." Target. International Journal of Translation Studies, April 9, 2021. http://dx.doi.org/10.1075/target.20010.pen.

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Abstract This article provides a quantitative and qualitative analysis of the translation of English drama film titles into Peninsular Spanish, drawing on cognitive modelling and following preliminary findings in Peña-Cervel (2016). Our study is consistent with the epistemological and ontological grounding of Cognitive Linguistics (Samaniego-Fernández 2007) and contributes to satisfying one of the major challenges Rojo-López and Ibarretxe-Antuñano (2013a, 10) identify for present-day Translation Studies: To reveal the conceptual substratum that guides the translation process. Our approach does

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Pilter, Lauri. "Jüri Talvet maailmaluule tõlgendajana / Jüri Talvet’s Interpretations of World Poetry." Methis. Studia humaniora Estonica 14, no. 17/18 (2017). http://dx.doi.org/10.7592/methis.v14i17/18.13211.

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Teesid: Tartu Ülikooli maailmakirjanduse professori, luuletaja, kirjandusteadlase ja hispaaniakeelse kirjanduse spetsialisti Jüri Talveti tõlketegevuse viljade hulka kuulub luulet ja proosat nii sajandeid vanast Hispaania klassikast kui ka 20. sajandil või tänapäeval romaani keeltes või inglise keeles loodud teostest. Käesolev artikkel keskendub sellele, kuidas professor Talvet on tõlgendanud luule ja poeetika, kuid ka kirjandusajaloo, iseäranis barokk-kirjanduse alaseid küsimusi oma kirjandusteaduslikes esseedes. Vaadeldakse ka tema tõlketegevuse mahtu ja tõlketöö põhimõtteid. Jüri Talvet (bo

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Portelli, Sergio. "The Nineteenth-Century Italian Translators of Lord Byron’s Marino Faliero." Quaderni d'italianistica 38, no. 1 (2018). http://dx.doi.org/10.33137/q.i..v38i1.31155.

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The tragic story of Marino Faliero, the Doge of Venice who was executed for high treason in 1355, came to the attention of writers and artists of various European countries during the early nineteenth century thanks to a number of historians who published insightful works on the history of the Venetian Republic. Among those who were fascinated by the irascible old warrior who tried to overthrow the oligarchy on becoming head of state was Lord Byron. In 1821, the English poet published the historical drama Marino Faliero, Doge of Venice on the tragic end of a hero whose personal grievances with

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"Translation of the Comic in the Films of Wes Anderson (based on English and Ukrainian)." Journal of V. N. Karazin Kharkiv National University Series: Foreign Philology. Methods of Foreign Language Teaching, no. 91 (2020). http://dx.doi.org/10.26565/2227-8877-2020-91-15.

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The article is dedicated to defining the specific features of the expression of the comic in the auteur film “The Grand Budapest Hotel” by the American director and screenwriter Wes Anderson, as well as to the analysis of the translation of the comic on the material of the authentic movie dialogue, its dubbing and subtitling in Ukrainian. The relevance of our research is determined by the increased interest in the auteur films, especially in the genre of comedy and comedy drama, as well as by insufficient research on the representation of the functional types of the comic in Ukrainian translat

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"Language teaching." Language Teaching 36, no. 3 (2003): 190–202. http://dx.doi.org/10.1017/s0261444803211952.

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03–386 Anquetil, Mathilde (U. of Macerata, Italy). Apprendre à être un médiateur culturel en situation d'échange scolaire. [Learning to be a cultural mediator on a school exchange.] Le français dans le monde (Recherches et applications), Special issue Jan 2003, 121–135.03–387 Arbiol, Serge (UFR de Langues – Université Toulouse III, France; Email: arbiol@cict.fr). Multimodalité et enseignement multimédia. [Multimodality and multimedia teaching.] Stratégies d'apprentissage (Toulouse, France), 12 (2003), 51–66.03–388 Aronin, Larissa and Toubkin, Lynne (U. of Haifa Israel; Email: larisa@research.h

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Woodward, Kath. "Tuning In: Diasporas at the BBC World Service." M/C Journal 14, no. 2 (2010). http://dx.doi.org/10.5204/mcj.320.

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Diaspora This article looks at diaspora through the transformations of an established public service broadcaster, the BBC World Service, by considering some of the findings of the AHRC-funded Tuning In: Contact Zones at the BBC World Service, which is part of the Diasporas, Migration and Identities program. Tuning In has six themes, each of which focuses upon the role of the BBC WS: The Politics of Translation, Diasporic Nationhood, Religious Transnationalism, Sport across Diasporas, Migrating Music and Drama for Development. The World Service, which was until 2011 funded by the Foreign Office

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