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Books on the topic 'Stylistics in translation'

Author: Grafiati

Published: 28 May 2022

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1

DiMarco, Chrysanne. Computational stylistics for natural language translation. Toronto: University of Toronto, Dept. of Computer Science, 1990.

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2

Stylistics and language teaching: With a section on translation studies. Delhi: Kalinga Publications, 2003.

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3

1904-, Darbelnet Jean, ed. Comparative stylistics of French and English: A methodology for translation. Amsterdam [Netherlands]: J. Benjamins Pub.. Co., 1995.

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4

Sarang, Vilas. The stylistics of literary translation: A study with reference to English and Marathi. [Bombay]: Gurudev Tagore Chair of Comparative Literature, University of Bombay, 1988.

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5

DiMarco, Chrysanne. Computational stylistics for natural languages. Toronto: Computer Systems Research Institute, University of Toronto, 1990.

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6

Siani, M. D. M. Tulli Ciceronis 'Pro Rabinio Posturno': Stylistic commentary and translation. Birmingham: University of Birmingham, 1986.

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7

Vrbová, Alena. Stylistika pro překladatele: Texty a cvičení. Praha: Karolinium, 1998.

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8

Parrott, David. Linguistic and stylistic aspects of nominalizations in thecontextof German and English technical writing and the relevancetomachine translation. Manchester: UMIST, 1994.

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9

Kadhim, Kais A. A discourse analytical approach to stylistic variations employed in Arabic translation of English news stories: Transmitting political news across linguistic and cultural boundaries. Lewiston: Edwin Mellen Press, 2011.

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10

Wai guo shi ge de fan yi yu Zhongguo xian dai xin shi de wen ti jian gou: The translation of foreign poetry and the stylistic construction of modern Chinese poetry. Beijing: Zhong yang bian yi chu ban she, 2013.

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11

Boase-Beier, Jean. Stylistics and Translation. Oxford University Press, 2011. http://dx.doi.org/10.1093/oxfordhb/9780199239306.013.0006.

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12

Marco, Chrysanne *. Di. Computational stylistics for natural language translation. 1990.

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13

Suresh. Stylistics and Language Teaching: With a Section on Translation Studies. Kalinga Publications, 2003.

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14

Darbelnet, Jean, and Jean-Paul Viney. Comparative Stylistics of French and English: A Methodology for Translation (Benjamins Translation Library, Vol 11). John Benjamins Publishing Co, 2000.

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15

Boase-Beier, Jean. Stylistic Approaches to Translation. Routledge, 2014. http://dx.doi.org/10.4324/9781315759456.

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16

Stylistic Approaches to Translation (Translation Theories Explained). Saint Jerome Publications, 2006.

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17

Ahmed, Mohamed. Arabic in Modern Hebrew Texts. Edinburgh University Press, 2019. http://dx.doi.org/10.3366/edinburgh/9781474444439.001.0001.

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In the late 1950s, Iraqi Jews were either forced or chose to leave Iraq for Israel. Finding it impossible to continue writing in Arabic in Israel, many Iraqi Jewish novelists faced the literary challenge of switching to Hebrew. Focusing on the literary works of the writers Shimon Ballas, Sami Michael and Eli Amir, this book examines their use of their native Iraqi Arabic in their Hebrew works. It examines the influence of Arabic language and culture and explores questions of language, place and belonging from the perspective of sociolinguistics and multilingualism. In addition, the book applies stylistics as a framework to investigate the range of linguistic phenomena that can be found in these exophonic texts, such as code-switching, borrowing, language and translation strategies. This new stylistic framework for analysing exophonic texts offers a future model for the study of other languages. The social and political implications of this dilemma, as it finds expression in creative writing, are also manifold. In an age of mass migration and population displacement, the conflicted loyalties explored in this book through the prism of Arabic and Hebrew are relevant in a range of linguistic contexts.

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18

Mahlberg, Michaela, Wolfgang Teubert, and Lorenzo Mastropierro. Corpus Stylistics in Heart of Darkness and Its Italian Translations. Bloomsbury Publishing Plc, 2017.

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19

Bauer, Nancy. Simone De Beauvoir: The Second Sex. Oxford University Press, 2017. http://dx.doi.org/10.1093/oso/9780190608811.003.0007.

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This chapter is a reprint of a book review of the new translation of The Second Sex, which raises questions about its success in rendering Beauvoir’s thought into English. Siding with critical scholars like Toril Moi, Bauer argues that Borde and Malovany-Chevallier’s translation is disappointing. The translation obscures Beauvoir’s philosophical insights by too often sacrificing readability and clear renditions of Beauvoir’s reasoning to word-by-word translations of Beauvoir’s long sentences and uncommon stylistic choices. This is due to the inexperience of the translators, who, Bauer claims, had never before translated such French theoretical writing and had no experience dealing with the “conceptual and rhetorical challenges” of Le deuxiéme sexe. Overall, Bauer’s review echoes the long history of the discounting of and underappreciation of feminist work as reflected in translation practices that assume women’s interests, writing, and scholarship to be tangential to scholarly research.

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20

Riggs, Ashley. Stylistic Deceptions in Online News: Journalistic Style and the Translation of Culture. Bloomsbury Publishing Plc, 2020.

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21

Fo, Alessandro. Limiting Our Losses. Translated by Jelena Todorovic and Susanna Braund. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198810810.003.0029.

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In this chapter (translated and reprinted here with kind permission), the arduous path of challenges faced by one of Virgil’s translators is mapped out with painstaking detail. Alessandro Fo, author of a recent translation of the Aeneid into Italian, offers an account of the main principles and criteria he adopted in approaching his task. From a metrical point of view, the translator opted for the ‘barbaric’ hexameter, striving to render the rhythmic flexibility of Latin verse. At a stylistic level, he decided to stick as close as possible to the epic and elevated (at times even alienating) diction of Virgil’s poem, without attempting to ‘gloss’ solemn coinages, metaphors, or enallagē for the Italian reader. After acknowledging his inescapable debt to previous Italian translators of the Aeneid, the author highlights his effort to situate his translation among those ‘oriented towards the source text’ without undermining its readability.

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22

Habert, Mireille. Montaigne, Translator of Raymond Sebond. Edited by Philippe Desan. Oxford University Press, 2016. http://dx.doi.org/10.1093/oxfordhb/9780190215330.013.5.

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Published in 1569, eleven years before the Essays came out, Natural Theology is the first printed work signed by the hand of Montaigne. It is not his own creation but a translation into French of a lengthy volume written in Latin around 1430 at the University of Toulouse by theologian Raymond Sebond. This translation was, for a long time, considered to be a simple stylistic exercise. Montaigne himself never professed to have done more than gain the satisfaction of succeeding at “cutting out and setting forth with [his] hand a French costume for the Spanish theologian and philosopher.” However, Montaigne’s patient study of Sebond’s thick volume was more than just an opportunity for his formal enrichment. Through questions regarding the way faith and reason engage with each other, the translator takes the first steps of a personal reflection on the human mind’s capacity to access the truth.

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23

Jiang, Chengzhi. Poetry-Painting Affinity as Intersemiotic Translation: A Cognitive Stylistic Study of Landscape Representation in Wang Wei’s Poetry and its Translation. Springer, 2020.

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24

Sansone, David. Plutarch: Lives of Aristeides and Cato. Liverpool University Press, 1989. http://dx.doi.org/10.3828/liverpool/9780856684210.001.0001.

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Plutarch's Lives have always attracted a large number of admirers, particularly because of his pragmatic concern with ethics and politics. But Plutarch intended his Lives to be read in pairs, an intention that is often ignored by those who treat these works as merely historical sources. This new text and translation provides the first commentary in English on the pair Aristeides and Cato. In addition to supplying commentary on historical, stylistic and textual matters, the book also explores Plutarch's purpose in comparing the fifth-century Greek statesman, Aristeides, with the second-century Roman, Cato the Elder. The book provides Greek text with facing translation, notes and introduction.

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25

Rhodes, Neil. Vulgar Italian and the Elizabethan Short Story. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198704102.003.0006.

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Early in the sixteenth century, Italy came to represent the cultural vanguard in Europe both in terms of new ideas and in offering a literary model of the vernacular. English visitors to Italy such as William Thomas and William Barker saw this in action at the Accademia Fiorentina where Giovanni Gelli lectured on Dante. The academy itself is a model for the principle of ‘vulgarization’ set out in the preface to Hoby's Courtier. This is put into practice in the first short-story collection in English, William Painter's Palace of Pleasure, which takes Boccaccio as its stylistic authority and in its tales of transgression acts as a primer of social possibility for English readers. These translations from Italian would themselves be translated for the stage, and two of the many spin-offs from Painter, by George Whetstone and George Pettie, point in the direction of the public and private theatres respectively.

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26

Hurley, Michael D., and Marcus Waithe. Introduction. Oxford University Press, 2018. http://dx.doi.org/10.1093/oso/9780198737827.003.0001.

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This chapter evaluates the competing ways that ‘style’ has been said to operate in language. Rather than figure thought as primary and pre-verbal, and language as a secondary delivery system, this chapter recommends a messier relationship, whereby writing is not a simple act of translating but also a means of clarifying or generating ideas. The twenty subsequent chapters of this book exemplify this account of style as a mode of thinking through. Outlines of these individual essays are given, and correspondences drawn. The value of the book as a whole is addressed, as it contributes to scholarship on style and on the essay, and to nineteenth-century studies in particular: by revaluating some of the most influential figures of that age, providing a literary context for those celebrated ‘minds’ and ‘moralists’, while also re-imagining the possible alliances, interplays, and generative tensions between thinking, thinkers, style, and stylists.

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27

Friedberg, Nila. Decoding the 1920s: A Reader for Advanced Learners in Russian. Portland State University Library, 2021. http://dx.doi.org/10.15760/pdxopen-30.

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The materials presented in this book were developed for an advanced-level content-based Russian language course at Portland State University entitled “Russian Literature of the Twentieth Century: The 1920s.” Literature of this period is a major part of the Russian canon, but is notoriously difficult for learners of Russian to read in the original, due both to its stylistic complexity and the relative obscurity of its historical, political, and cultural references. And yet, this decade is crucial for understanding Russia – not only in the Soviet period, but also today. This was the period, when Mikhail Zoshchenko, Isaak Babel, Mikhail Bulgakov, and Andrei Platonov meticulously documented the birth of the “New Soviet Man,” his “newspeak” and Soviet bureaucratese; when Alexandra Kollontai, a Marxist revolutionary and a diplomat, wrote essays and fiction on the “New Soviet Woman”; when numerous satirical works were created; when Babel experimented with a literary representation of dialects (e.g.,Odessa Russian or Jewish Russian). These varieties of language have not disappeared. Bureaucrats still use some form of bureaucratese. Numerous contemporary TV shows imitate the dialects that Babel described. Moreover, Bulgakov’s “Heart of a Dog” gave rise, due largely to its film adaptation, to catch-phrases that still appear throughout contemporary Russian media, satirical contexts, and everyday conversation. Thus, the Russian literature of the 1920s does not belong exclusively to the past, but has relevance and interpretive power for the present, and language learners who wish to pursue a career in humanities, media analysis, analytical translation, journalism, or international relations must understand this period and the linguistic patterns it established.

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28

Rice, Alison, ed. Transpositions. Liverpool University Press, 2021. http://dx.doi.org/10.3828/liverpool/9781789621112.001.0001.

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Transpositions examines a variety of new Euro-Mediterranean literary, cinematic, artistic, and musical works that are inspired in many senses by the movements of contemporary migration. Divided into four parts, the collective volume focuses first on diverse representations of migration in chapters that explore “Mediterranean Crossings.” It then turns to questions of translation, multilingualism, and plurality in chapters united under the heading “Multilingual Aesthetics and Poetics.” In reflections on creative expression in genres ranging from theatrical works to films to the fine arts, the third section titled “Performance Arts” is devoted to migration and exile. The final portion of the publication, “Musical Movements,” focuses on music as a form of composition as well as a the thematic and stylistic influence on depictions of displacement, underscoring its capacity to add multiple layers of meaning to the migratory experience. Transpositions is attentive to the innovative forms of French—to new Francophonies—that are emerging in recent texts wherein authors and artists are compelled to transpose migratory realities into a different linguistic and cultural context. The works that embody transpositions into French may not be fully comprehensible to the reader or the listener since these films, plays, pieces of art, musical compositions, and written publications are so often situated beyond the borders of what is customary. They nonetheless communicate a great deal as they incorporate new, inventive elements that push the limits of formal composition to speak to—and represent—an expanding audience, and this volume revels in these new creations.

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