Relevant bibliographies by topics / Italian fiction, translations into english

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  1. Journal articles
  2. Dissertations / Theses
  3. Books
  4. Book chapters
  5. Conference papers

Academic literature on the topic 'Italian fiction, translations into english'

Author: Grafiati
Published: 4 June 2021
Last updated: 31 July 2024

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Journal articles on the topic "Italian fiction, translations into english"

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Yu., Munkh-Amgalan. "Монгол хэлээр орчуулагдсан италийн уран зохиолын товч тойм." Mongolian Journal of Foreign Languages and Culture 25, no. 547 (February 10, 2023): 9–25. http://dx.doi.org/10.22353/mjflc.v25i547.1833.

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Mongols have a long and rich tradition of translating literary works from many different countries into Mongolian. Specifically, thousands of literary works from over 100 different countries written in dozens of different languages have been translated into Mongolian. Among these, a large number of Italian literary works have been translated into Mongolian from Russian, English, and Romanian. As for the literary genres of these works, they primarily consist of poetry, prose, and plays (including screenplays). Specifically: 1) Poetry: poems (58 works), songs (1), long poems (3); 2) Prose: folktales (33), authored tales (36), short stories (40), traditional jokes (3), novellas (5), framed stories (1), novels (5); 3) Plays (2), and screenplays (1). In addition, works of non-fiction, including stylized biographical sketches, reminiscences, as well as a political philosophical treatise, have been published. Literary works are generally divided into one of the following two different categories depending on whether they have a specific author or not: a) oral folklore; and b) written literature. The following tasks need to be undertaken to properly study Italian literary works which have been translated into Mongolian and published in Mongolia: A complete bibliography of Italian literary works translated into Mongolian must be compiled, All of the Italian originals must be located and correctly identified, The Russian, English, and Romanian intermediate translations must also be found and carefully consulted, If a work has been translated multiple times by a single translator, the multiple translations must be compared with each other and studied, If a work has been translated multiple times by different translators, the multiple translations must likewise be compared with each other and studied, The Italian originals of poems, songs, tales, and short stories which have been translated into Mongolian should be located and juxtaposed with their translations and published in book format for teaching and research purposes.
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Masi, Silvia. "Translating non-fiction picturebooks for children across age groups and languages: the case of informative books on geography in English and Italian." Translation Matters 3, no. 2 (2021): 60–74. http://dx.doi.org/10.21747/21844585/tm3_2a4.

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The present study explores the role of multimodality in the intralingual and interlingual mediation of a small parallel English-Italian corpus of non-fictional picturebooks on geography addressed to children of different age groups. It proposes aqualitative analysis that builds on preceding research on travel guidebooks for children (Cappelli and Masi, 2019), and integrates different approaches, viz. Painter et al. (2013), Moya-Guijarro (2014), and Goga (2020). The intralingual investigation showed that verbal and visual strategies were co-deployed differently depending on the age of the target readership, while the analysis of the Italian translations confirmed the main findings of previous research, e.g. the preference for a less direct verbal address, a more formal style, a higher degree of specification in the lexical choices, along with other linguistic strategies and trends that inevitably altered the word-image configuration of the original source texts. The ultimate goal of the article is indeed to contribute to the development of an intersemiotic analytical framework to raise awareness of subtleties in these and similar types of ever more popular and highly multimodal non-fiction for children, to be applied in pedagogy and in pre-translational text analysis.
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Shaytanov, I. O. "History of Russian translations of fiction in 1800–1825." Voprosy literatury, no. 6 (December 8, 2023): 174–79. http://dx.doi.org/10.31425/0042-8795-2023-6-174-179.

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The research is presented in the form close to a fundamentally annotated bibliography demonstrating how European literary experience was advanced in the first quarter of the 19th c. in Russia at the time when contemporary Russian literature was being shaped. Six parts are devoted successively to French, German, English, Italian, Spanish, and classical literatures. The major aspects of research are outlined in an extensive foreword (E. Dmitrieva, M. Koreneva). Highlights include: Comparative analysis of the international contacts of Russian literature; a new interest in the novel, the genre that manifested a new literary taste; publishing and the audience in Russia compared to other European cultures; the birth of literary criticism on the margins of rhetoric; the evolution of a literary taste where gallomania was being substituted by anglo- and germanophilia; the change in the forms of contacts from imitation to stylization in accordance with the formula suggested by Konstantin Batyushkov ‘The stranger’s treasure is mine.’
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Mastropierro, Lorenzo, and Kathy Conklin. "Racism and dehumanisation in Heart of Darkness and its Italian translations: A reader response analysis." Language and Literature: International Journal of Stylistics 28, no. 4 (November 2019): 309–25. http://dx.doi.org/10.1177/0963947019884450.

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This article presents the results of a reader response study of Joseph Conrad’s Heart of Darkness and two of its Italian translations. Specifically, data from an online questionnaire are used to test whether English and Italian readers respond differently to the potential racist implications of the fictional representation of the African natives. Whereas one translator removes completely all occurrences of nigger( s) and negro, the other adds additional uses of the slurs which are not present in the original. We explore with empirical methods whether these translational alterations have an effect on the readers’ perception of dehumanisation, discrimination and racism in the text, comparing responses to each translation with responses to the original. Our findings not only show evidence of significant differences in the responses between one translation and the original but also suggest that other linguistic and extra-linguistic factors could be influencing readers’ response. With this article, we aim to contribute to the under-researched application of reader response approaches to translation studies.
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Caliendo, Giuditta. "Italy’s other Mafia." Sociological Turn in Translation and Interpreting Studies 7, no. 2 (December 31, 2012): 191–211. http://dx.doi.org/10.1075/tis.7.2.06cal.

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Following its translation into more than thirty languages, Roberto Saviano’s non-fiction novel Gomorrah [Gomorra], has unveiled to a vast number of readers across the globe the endless saga of Naples’ crime syndicate, the Camorra (from which the book’s title derives its bitter play on words). Literary critics and reviewers in the UK and in the U.S. have widely acclaimed Saviano’s talent in depicting the corruption plaguing Naples’ gloomy and degraded hinterland, although the sociocultural context portrayed in Gomorrah is naturally distant from the repertoire of the target culture: the text is widely populated by culture-bound concepts and implicit meanings, which further complicates the translation process. Through a contrastive analysis of the Italian and English versions of the exposé, this study explores the strategies employed in translating the voices and deeds of Naples’ mobsters, as well as the socioeconomic setting of the Camorra. With reference to types of non-equivalence between the two language versions, this article investigates to what extent the English translation contributes to the identity-building process of the Camorra as a separate and far more deadly criminal organization vis-à-vis the Sicilian Mafia.
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Reid, Katie. "Richard Linche: The Fountain of Elizabethan Fiction." Studies in Philology 120, no. 3 (June 2023): 527–56. http://dx.doi.org/10.1353/sip.2023.a903805.

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Abstract: This essay represents the first scholarly assessment of the complete works of the Elizabethan poet and translator Richard Linche (fl. 1596–1601). Linche was interested in classical mythology, sonnet writing, and prose translation. He was also concerned with the burning literary questions of the 1590s and early seventeenth century. This article analyzes Linche’s sonnet sequence Diella (1596) and his love poem The Love of Dom Diego and Gynevra (1596), highlighting Linche’s use of ancient mythology as an ideal vehicle for exploring personal passion in contemporary poetry. It then turns to Linche’s English translation of the Italian mythographer Vincenzo Cartari, The Fountaine of Ancient Fiction (1599) , to illustrate how Linche deals with mythology as an inspiration for literature. Linche identifies myth as an appealing source for contemporary writing while displaying discomfort with some of its sexual content. Finally, this article discusses Linche’s An Historical Treatise of the Travels of Noah into Europe (1601), placing the work in the larger picture of his literary career and suggesting that it was a euhemeristic response to his earlier explorations of myth. In contrast to Linche’s earlier works, The Travels offers a de-personalized and desexualized approach to myth. By providing the first detailed critical assessment of Richard Linche’s oeuvre, this essay reveals an Elizabethan writer who was interested in what inspires fiction, particularly in the complicated moral issues surrounding the sensuality of classical mythology and the role of eroticism in contemporary poetry.
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Maher, Brigid. "‘La dolce vita’ meets ‘the nature of evil’: the paratextual positioning of Italian crime fiction in English translation." Translator 22, no. 2 (May 3, 2016): 176–89. http://dx.doi.org/10.1080/13556509.2016.1184879.

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de la Iglesia, Martin. "Has Akira Always Been a Cyberpunk Comic?" Arts 7, no. 3 (August 1, 2018): 32. http://dx.doi.org/10.3390/arts7030032.

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Between the late 1980s and early 1990s, interest in the cyberpunk genre peaked in the Western world, perhaps most evidently when Terminator 2: Judgment Day became the highest-grossing film of 1991. It has been argued that the translation of Katsuhiro Ōtomo’s manga Akira into several European languages at just that time (into English beginning in 1988, into French, Italian, and Spanish beginning in 1990, and into German beginning in 1991) was no coincidence. In hindsight, cyberpunk tropes are easily identified in Akira to the extent that it is nowadays widely regarded as a classic cyberpunk comic. But has this always been the case? When Akira was first published in America and Europe, did readers see it as part of a wave of cyberpunk fiction? Did they draw the connections to previous works of the cyberpunk genre across different media that today seem obvious? In this paper, magazine reviews of Akira in English and German from the time when it first came out in these languages will be analysed in order to gauge the past readers’ genre awareness. The attribution of the cyberpunk label to Akira competed with others such as the post-apocalyptic, or science fiction in general. Alternatively, Akira was sometimes regarded as an exceptional, novel work that transcended genre boundaries. In contrast, reviewers of the Akira anime adaptation, which was released at roughly the same time as the manga in the West (1989 in Germany and the United States), more readily drew comparisons to other cyberpunk films such as Blade Runner.
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Thomas, Keith. "Historians and Storytellers." Common Knowledge 25, no. 1-3 (April 1, 2019): 163–64. http://dx.doi.org/10.1215/0961754x-7299222.

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This guest column comprises both a review of the English translation of Carlo Ginzburg’s book Threads and Traces: True False Fictive (2012) and some general comments on the merits and demerits of microhistory as a genre poised between historical writing and fiction. The column is published in the context of two others regarding this latter topic — one by Natalie Zemon Davis, the author of the microhistorical classic The Return of Martin Guerre, and one by Colin Rich-mond. Davis’s column is a response to Keith Thomas’s having drawn approving attention to the following remark of J. H. Elliott’s: “Something is amiss when the name of Martin Guerre threatens to become better known than that of Martin Luther.” In the present piece, Thomas writes of Ginzburg, a founder of Italian microhistory, that he is more a “European intellectual” than a “mere historian,” the difference being that the former is less interested in history per se than in fields such as anthropology, philosophy, and literary theory. Thomas’s column expresses doubt about the intellectual restlessness of historians like Ginzburg and about the preparation of microhistorians to write constantly on topics new to them, but it claims as well that Ginzburg’s “combination of erudition and piercing intelligence is irresistible.”
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Renna, Dora, and Francesca Santulli. "Across languages, across media. A comparative analysis of linguistic variation in literary translation and transmedial adaptation of a Chinese-American fictional character." Diacrítica 37, no. 3 (January 31, 2024): 153–73. http://dx.doi.org/10.21814/diacritica.5070.

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This study explores translation and transmediality by examining the adaptation of Charlie Chan’s literary and cinematic portrayal in English and Italian. As a Chinese American fictional detective created by E.D. Biggers in the 1920s (often accused of stereotyping the minority he represents), Charlie Chan navigates various cultural contexts, providing a rich ground for intermedial comparisons. By employing an intercultural and intermedial approach to Translation Studies, this research sets out to understand how linguistic variation is represented across languages and media. The analysis intertwines multiple levels of translation, as it investigates the passages from English source to Italian target version of both novel and film (interlingual translation), as well as the novel-film adaptation as a form of rewriting (and therefore of medium translation). In particular, the focus will be on how Chan’s language variation, with specific attention to those traits that are supposed to delineate his fictional ‘Chineseness’, may have changed across these multiple translational passages. The findings of this research reveal that the different versions preserve and adapt to various extents Chan’s portrayal, and that both different languages and media contribute to a nuanced understanding of the complexities in the (stereotyped) representation of the image of minority characters.
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Dissertations / Theses on the topic "Italian fiction, translations into english"

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Wang, Baorong, and 汪宝荣. "Shaoxing Dialect in English translations of Lu Xun's fiction." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2008. http://hub.hku.hk/bib/B40887698.

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Slagle, Judith Bailey. "Gothic Interactions: Italian Gothic Translations of Margaret Holford Hodson." Digital Commons @ East Tennessee State University, 2013. https://dc.etsu.edu/etsu-works/3222.

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Wang, Baorong, and 汪宝荣. "Lu Xun's fiction in English translation: the early years." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2011. http://hub.hku.hk/bib/B46969081.

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Reid, Joshua. "Lyric Augmentation and Fragmentation of the Italian Romance Epic in English Translations." Digital Commons @ East Tennessee State University, 2017. https://dc.etsu.edu/etsu-works/2861.

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The translation and transmission of the Italian romance epics of Boiardo, Ariosto, and Tasso across linguistic and cultural boundaries also included genre reprocessing. This paper traces how Elizabethan translators and compilers of these texts tended to read epic lyrically, or to read the lyric into (and out of) the epic. For Elizabethan translators of the Italian Romance Epic—Sir John Harington, Edward Fairfax, and Robert Tofte, for example—this transmutation meant amplification or insertion of lyrical material, such as Fairfax’s enhancement of the Petrarchan subtext of the Armida Blazon in Book 4 of Gerusalemme Liberata and Robert Tofte’s injection of his own Petrarchan mistress Alba into Boiardo’s Orlando Innamorato. Another trend, demonstrated by Robert Allott’s English verse anthology Englands Parnassus (1600), involved extracting lyrical fragments from the romance epic that function as stand-alone poems.
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郭康樂 and Hong-lok Kwok. "A comparative study of three translations of Gan Xiao Liu Ji." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 1994. http://hub.hku.hk/bib/B31211525.

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Deng, Jing, and 邓静. "Proposing a frame-based principle for fictional translation: with special reference to Eileen Chang'stranslation." Thesis, The University of Hong Kong (Pokfulam, Hong Kong), 2010. http://hub.hku.hk/bib/B4437253X.

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In the light of frame semantics, a linguistic sign is understood in terms of frame, which is a structured background of knowledge and experiences. Meanings are thus relativized to frames. With a holistic consideration of interrelated elements such as prototype, context, schema and semantic memory, this meaning theory provides a promising starting point for an integrative theory of translation. Adopting a frame semantic approach, the thesis looks into the mechanism of the translator’s decision-making on meaning transfer in fictional translation. It proposes that a translator’s decisions are generally controlled by the “Proper Scene Principle”, which requires that the translator should ensure that the target reader can generally gain access through the target text (TT) to proper scenes to construct a coherent text world comparable to the one underlying the source text (ST). The principle consists of two maxims, i.e. the Maxim of Relevance and the Maxim of Coherence, of which the former is concerned with the relationship between a ST scene and a TT scene, and the latter, the integrity of the network of scenes evoked by the TT. To test the validity of the Proper Scene Principle, a detailed model of text comprehension is delineated, which specifies the progressive path of comprehension from individual semantic structures to a holistic text world, taking into account such factors as the framing pattern, framing criteria, highlighted and basic frame features, perspective, scene extension and scene-scene relations. Authentic data taken from Eileen Chang’s conventional translation and self-translation are carefully categorized and discussed within the framework of this model. As evidenced by ample exemplifications, the frame/scene notion and the prototypical approach to the ST-TT relation are of both explanatory strength and problem-solving advantages for fictional translation. The proposed principle is proved to be effective, which may well serve as a diagnostic tool for translation problems, a yardstick for translation quality and a reference point for the translator’s obligation and freedom. As a whole, being a comprehensive investigation that concerns both theory and practice, the thesis attempts to shed some new light on certain basic issues of translation studies and it is of particular relevance to the practice of literary translation. The concepts and methods developed in the thesis might also contribute to the progress of frame semantic theory.
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Doctor of Philosophy
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李慧敏. "《狼圖騰》、《塵埃落定》英譯研究: 從互文性角度分析兩部以中國少數民族邊地為背景的中文小說英譯= A study of wolf totem and red poppies: an intertextual analysis of English translations of two Chinese novels set in China's ethnic minority regions." HKBU Institutional Repository, 2016. https://repository.hkbu.edu.hk/etd_oa/257.

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本論文從互文性視角研究《狼圖騰》和《塵埃落定》的英譯，通過建立文本內部的話語與文本外部的話語之間的互文聯繫，分析源文內部的話語與源語系統中相關話語的互文性，及英譯內部的話語與目標語系統中相關話語的互文性，進而闡釋源文的文本意義和英譯的文本意義。 全文共分四章。第一章為緒論，介紹本文的選題背景、研究範圍與研究問題、研究方法、文獻綜述、理論框架和章節佈局。第二章是對《狼圖騰》及其英譯Wolf Totem作文本分析。本章通過分析在源文和英譯中圍繞蒙古族草原生態觀而展開對話的四類話語，建立每一類話語在源語系統和目標語系統中的互文聯繫，發現《狼圖騰》的文本意義是強調借蒙古文化的元素使中國變強大的話語，而其英譯Wolf Totem則重在彰顯內蒙古的蒙古文化，弱化了中國崛起的話語。第三章是對《塵埃落定》及其英譯Red Poppies作文本分析。本章通過分析在源文和英譯中圍繞嘉絨族群身份認同而展開對話的五類話語，建立每一類話語在源語系統和目標語系統中的互文聯繫，進而發現《塵埃落定》的文本意義是借追尋族群身份來彰顯嘉絨藏族的主體性。其英譯Red Poppies文本產生的意義則不在於尋找嘉絨族群身份，而是更突出了這一文本與英語世界裡西藏觀的既有話語的互動。第四章為結語部分，總結本論文的研究成果，對本論文運用的理論和方法進行批判性反思，最後是對後續研究的方向作出展望。 This thesis provides an analysis from an intertextual perspective of English translations of Lang Tuteng and Chen Ai Luo Ding, two Chinese novels set in China’s ethnic minority regions published since the 1990s. It is argued that these Chinese novels derive their meaning from a dialogue with various discourses circulating around them, and that English translations of these novels derive their meaning from a dialogue with various discourses circulating around the translations and their source texts. This thesis is organized into four chapters. Chapter One details the research background, delineates the scope of study, sets out the research questions, specifies methodology and theoretical framework for analysis, and provides a review of the literature. Chapter Two provides a detailed analysis from an intertextual perspective of Lang Tuteng and its English translation Wolf Totem. Four discourses concerning the characters’ attitudes towards the Mongolian ecology are identified in Lang Tuteng. A comparative analysis of the source and target texts shows that, whereas the source text privileges the discourse of ‘strengthening China through learning from the Mongolian culture’, the target text puts the emphasis on the Mongolian culture itself, and that the concern with China’s nation building is much less pronounced in the target text than in the source text. Chapter Three provides a detailed analysis of Chen Ai Luo Ding and its English translation Red Poppies. Five discourses concerning the identity of the Jiarong people in relation to China and the Tibetan region are identified in Chen Ai Luo Ding. A comparative analysis of the source and target texts shows that, whereas the source text highlights the issues of identity concerning the Jiarong people, the target text engages effectively in dialogue with existing discourses concerning the Tibetan region in the target language culture. The Chinese novel and its English translation acquire additional layers of meaning when their intertextual relations are teased out and read in their respective cultural contexts. Chapter Four provides a summary of the findings of the thesis, paying special attention to the connections and differences between the two case studies. Both novels are set in ethnic minority regions in mainland China, depict cultures of ethnic minority groups, and discuss the relationship between the ethnic minorities and the majority Han people in mainland China. Lang Tuteng adopts the perspective of the Han Chinese, positions the Mongolian culture as the other, and emphasizes the importance of learning from the other; however, Wolf Totem stresses the marginalization of the Mongolian culture, rather than issuing an appeal for the Han Chinese to enrich their culture and contribute to the rise of the Chinese nation. Chen Ai Luo Ding adopts the perspective of the Jiarong people, positions foreign cultures as the other, and highlights the narrator’s quest for an identity of the Jiarong people. A comparative analysis of the Chinese novel and its English translation shows the ways in which Red Poppies adheres to the discourses in the source text and enters into dialogue with dominant discourses on the Tibetan region in the target language culture. Chapter Four also includes theoretical reflection on the methodology and theoretical framework of this thesis, and suggests possible avenues for future research.
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Shen, D. "Literary stylistics and translation : With particular reference to English translations of Chinese prose fiction." Thesis, University of Edinburgh, 1987. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.379342.

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Canton, Licia. "The question of identity in Italian-Canadian fiction." Thesis, National Library of Canada = Bibliothèque nationale du Canada, 1997. http://www.collectionscanada.ca/obj/s4/f2/dsk2/ftp02/NQ43473.pdf.

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Khameneh, Pour Roxana. "Active Translation into English and Italian of Hosseini's adaptation of the Persian epic,"Shahname"." Bachelor's thesis, Alma Mater Studiorum - Università di Bologna, 2015. http://amslaurea.unibo.it/9226/.

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This thesis proposes a translation from Persian into Italian and English of an ancient Persian epic called Shahname, or literally “The Book of Kings,” by Ferdosi, first published in the 11th century CE. The translation proposed, however, is not based on the original book by Ferdosi, which is written all in verse, but rather, an edited, shorter, and simplified version written in prose, by Mohamad Hosseini, first published in 2013. Nonetheless, in his version, Hosseini included some of the verses from the original poems in order to show the value and the beauty of Ferdosi’s writing. Many translations of Ferdosi’s book have been made into English, but only one translation has been made into Italian, by one Italo Pizzi, in 8 volumes, all in verse, in 1886. This thesis analyses and discusses the choices made for the two translations presented into English and Italian. My project is not only to propose translations of Hosseini’s version, but to also introduce the reader to the Persian culture, and to the life of the most famous Iranian epic writer, Ferdosi, and his masterpiece, Shahname.
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Books on the topic "Italian fiction, translations into english"

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Parks, Tim. Translating style: The English modernists and their Italian translations. London: Cassell, 1998.

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Massimo, Riva, ed. Italian tales: An anthology of contemporary Italian fiction. New Haven, CT: Yale University Press, 2004.

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1911-, Hall Robert Anderson, ed. Italian stories =: Novelle italiane. New York: Dover, 1989.

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1928-, King Martha, ed. New Italian women: A collection of short fiction. New York: Italica Press, 1989.

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Fiorenza, Conte, and Blücher-Altona Helen, eds. The babel guide to Italian fiction (in English translation). London, UK: Boulevard, 1995.

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1964-, Pavolini Lorenzo, ed. Italville: New Italian writing. Toronto: Exile Editions, 2005.

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Cattaneo, E. Italian fiction in English translation: Publishing strategies and cultural values. Manchester: UMIST, 1996.

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Nick, Roberts, ed. Short stories in Italian. London: Penguin, 1999.

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1928-, King Martha, ed. After the war: A collection of short fiction by postwar Italian women. New York: Italica Press, 2004.

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Lauro, Martines, ed. An Italian Renaissance sextet: Six tales in historical context. Toronto: University of Toronto Press, 2004.

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Book chapters on the topic "Italian fiction, translations into english"

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Marco Borillo, Josep. "An Analysis of the Use of Vernacular in Sebastian Barry’s Days Without End and Its Spanish and Italian Translations." In The Dialects of British English in Fictional Texts, 47–66. New York : Routledge 2021. | Series: Routledge research in language and communication: Routledge, 2021. http://dx.doi.org/10.4324/9781003017431-5.

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Borodo, Michał. "Introduction." In English Translations of Korczak’s Children’s Fiction, 1–9. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-38117-2_1.

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Borodo, Michał. "The Language of Translated Children’s Fiction: Key Issues." In English Translations of Korczak’s Children’s Fiction, 11–55. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-38117-2_2.

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Borodo, Michał. "Sketching the Context: English Translations of Polish Children’s Literature." In English Translations of Korczak’s Children’s Fiction, 57–105. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-38117-2_3.

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Borodo, Michał. "Cultural Assimilation, Foreignization, Fairytalization and Hyperbolization." In English Translations of Korczak’s Children’s Fiction, 107–34. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-38117-2_4.

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Borodo, Michał. "Mitigation, Standardization, Simplification and Explicitation." In English Translations of Korczak’s Children’s Fiction, 135–59. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-38117-2_5.

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Borodo, Michał. "Style and Sociolect: A Corpus-Based Study." In English Translations of Korczak’s Children’s Fiction, 161–85. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-38117-2_6.

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Borodo, Michał. "Formal Literary Style and Modern American Idiom." In English Translations of Korczak’s Children’s Fiction, 187–208. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-38117-2_7.

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Borodo, Michał. "On Cannibals and Savages: Translators’ Treatment of Racial Issues." In English Translations of Korczak’s Children’s Fiction, 209–36. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-38117-2_8.

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Borodo, Michał. "Conclusion." In English Translations of Korczak’s Children’s Fiction, 237–41. Cham: Springer International Publishing, 2020. http://dx.doi.org/10.1007/978-3-030-38117-2_9.

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Conference papers on the topic "Italian fiction, translations into english"

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Podgornii, I. A. "LITERARY INTERTEXTS IN A.S. GRIBOYEDOV’S COMEDY «GORE OT UMA» AND ITS ENGLISH, GERMAN AND ITALIAN TRANSLATIONS." In ACTUAL PROBLEMS OF LINGUISTICS AND LITERARY STUDIES. TSU Press, 2021. http://dx.doi.org/10.17223/978-5-907442-02-3-2021-127.

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Mihaila, Ramona. "TRANSCULTURAL CONTEXTS: NETWORKS OF LITERARY TRANSLATIONS." In eLSE 2017. Carol I National Defence University Publishing House, 2017. http://dx.doi.org/10.12753/2066-026x-17-167.

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While in the Western societies the act of translating was a phenomenon that had a powerful tradition which started long before the sixteenth century, in the Romanian Principalities the first timid attempts were recorded at the beginning of the nineteenth century. Taking into account the translations accomplished by the nineteenth Romanian women writers and the large range of languages (French, Italian, Greek, Latin, German, English, Spanish) they used, I have tried to “discover” and “revive” as many women writers as I could, first of all by focusing all my attention on the works of the neglected women (writers) translators. The present research, which limits only to Romanian women writers that translated writings of foreign women authors, needs also a special attention to finding biographical data about the translators since a lot of them used pen names (few writers used even more than three pen names) or signed their writing or translations only with the initial letters of their names, especially for the works published in installments. There is a significant amount of research in order to bring to light all the translated works since most of them can be found only in (incomplete) issues of journals, almanacs, literary magazines, theatre’s journals, or manuscripts. By using the international database Women Writers in History we may involve researchers and students from many European countries in contributing with important information concerning their women writers. There are also negotiations with national libraries in 25 countries around Europe in order to get partners for this database which offers open access.
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Bandalo, Višnja. "ICONOGRAPHIC DEPICTION AND LITERARY PORTRAYING IN BERNARD BERENSON'S DIARY AND EPISTOLARY WRITING." In NORDSCI Conference Proceedings. Saima Consult Ltd, 2021. http://dx.doi.org/10.32008/nordsci2021/b1/v4/18.

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The paper focuses on the interlacement of literary and iconographic elements by displaying an innovatory philological and stylistic approach, from a comparative perspective, in thematizing multilingual translational and adaptive aspects, ranging across Bernard Berenson's diaristic and epistolary corpus, in conjunction with his works on Italian visual culture. This interweaving gives occasion to the elaboration of multilinguistic textual influences and their verbo-visual artistic representations deduced from his innovative interpretative readings in the domain of world literature in modern times. Such analysis of the discourse of theoretical and literary nature, and of the pictoricity, refers to Bernard Berenson's multilingual considerations about canonical authors in English, Italian, French, German language, belonging to the Neoclassical and Romantic period, as well as to the contemporary era, as conceptualized in his autobiographical works, in correlation with his writings on Italian figurative art. The scope of this presentation is to discern and articulate Berenson's aesthetic ideas evoking literary and artistic modernity, that are infused with crucial notions of translational theory and conveyed through the methodology of close reading and comprising at the same time, in an omnicomprehensive manner, a plurality of tendencies intrinsic to social paradigms of cultural studies. Unexplored premises reflecting Berenson's vision of Italian culture, most notably of a visual stamp, will be analyzed through author's understandings of such adaptive translations or volumes to be subsequently translated in Italian, and through their intertwined intertextual applications, significantly contributing to further critical and hermeneutic reception thereof. Particular attention is drawn to its instancing in the field of Romantic literary production (Emerson, Byron), originally underscoring the specificities of each literary genre and expressive mode, of the narrative, lyric or theatrical nature, as well as concomitantly involving parallel notions as adapted variants within visual arts, and in such a way expressing theoretical views pertainable to Italian artworks too. Other analogous elements relevant to literary expression in the most varied cultural sectors such as philosophy, music, civilisational history (Goethe, Hegel, Kant, Wagner, Chateaubriand, Rousseau, Mme de Staël, Taine) are furnished, as well as the examples of the resonances of non-western cultures, with the objective of exploring the effect among readership bringing also to the renewal of Italian tradition.
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Noever, David, Josh Kalin, Matthew Ciolino, Dom Hambrick, and Gerry Dozier. "Local Translation Services for Neglected Languages." In 8th International Conference on Artificial Intelligence and Applications (AIAP 2021). AIRCC Publishing Corporation, 2021. http://dx.doi.org/10.5121/csit.2021.110110.

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Taking advantage of computationally lightweight, but high-quality translators prompt consideration of new applications that address neglected languages. For projects with protected or personal data, translators for less popular or low-resource languages require specific compliance checks before posting to a public translation API. In these cases, locally run translators can render reasonable, cost-effective solutions if done with an army of offline, smallscale pair translators. Like handling a specialist’s dialect, this research illustrates translating two historically interesting, but obfuscated languages: 1) hacker-speak (“l33t”) and 2) reverse (or “mirror”) writing as practiced by Leonardo da Vinci. The work generalizes a deep learning architecture to translatable variants of hacker-speak with lite, medium, and hard vocabularies. The original contribution highlights a fluent translator of hacker-speak in under 50 megabytes and demonstrates a companion text generator for augmenting future datasets with greater than a million bilingual sentence pairs. A primary motivation stems from the need to understand and archive the evolution of the international computer community, one that continuously enhances their talent for speaking openly but in hidden contexts. This training of bilingual sentences supports deep learning models using a long short-term memory, recurrent neural network (LSTM-RNN). It extends previous work demonstrating an English-to-foreign translation service built from as little as 10,000 bilingual sentence pairs. This work further solves the equivalent translation problem in twenty-six additional (non-obfuscated) languages and rank orders those models and their proficiency quantitatively with Italian as the most successful and Mandarin Chinese as the most challenging. For neglected languages, the method prototypes novel services for smaller niche translations such as Kabyle (Algerian dialect) which covers between 5-7 million speakers but one which for most enterprise translators, has not yet reached development. One anticipates the extension of this approach to other important dialects, such as translating technical (medical or legal) jargon and processing health records or handling many of the dialects collected from specialized domains (mixed languages like “Spanglish”, acronym-laden Twitter feeds, or urban slang).
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