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Relevant bibliographies by topics / Translating into Gothic

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Academic literature on the topic 'Translating into Gothic'

Author: Grafiati

Published: 4 June 2021

Last updated: 1 February 2022

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Journal articles on the topic "Translating into Gothic"

1

Ratkus, Artūras. "THE GREEK SOURCESOF THE GOTHIC BIBLE TRANSLATION." Vertimo studijos 2, no. 2 (April 6, 2017): 37. http://dx.doi.org/10.15388/vertstud.2009.2.10602.

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Almost all of what we know about the structure and properties of Gothic comes from the Gothic translation of the New Testament from Greek. No analysis of Gothic syntax is therefore feasible without reference to the Greek original. This is problematic, however, as the autograph that was used in translating the Bible into Gothic does not exist, and the choice of the Greek edition of the New Testament for comparative study is a matter of debate. The article argues that, in spite of the general structural affinity of the Gothic text to the Greek, the numerous observed deviations from the Greek represent authentic properties of Gothic—it has been argued in the literature, based on such deviations, that Gothic is an SOV language. A comparison of the Gothic Bible and different versions of the Greek New Testament gives a taxonomy of structural and linguistic differences. Based on this, I argue that the correct version of the Greek Bible to use when analysing the structural properties of Gothic is the Byzantine text form, represented by the Majority Text of the New Testament.

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2

TAJI, Takahiro. "MORITA KEIICHI'S INTENTION OF TRANSLATING 'ARCHITECTURAL THOUGHT OF GOTHIC' BY WORRINGER AND ITS IDEOLOGICAL BACKGROUND." Journal of Architecture and Planning (Transactions of AIJ) 80, no. 707 (2015): 203–12. http://dx.doi.org/10.3130/aija.80.203.

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3

Lane, Véronique. "From Retranslation to Back-Translation: A Bermanian Reading of The Monk by Matthew Gregory Lewis, Antonin Artaud, and John Phillips." Translation and Literature 29, no. 3 (November 2020): 391–410. http://dx.doi.org/10.3366/tal.2020.0438.

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In his work on retranslation, Antoine Berman is probably the theorist who came closest to reflecting on back-translation. This article offers interpretations of two of his premises in ‘La retraduction comme espace de traduction’: that all translations are impaired by forces of non-translation and that this phenomenon is attenuated by retranslation. It is partly to investigate these hypotheses that Berman developed the concept of ‘défaillance’. The article traces the evolution of Berman's notion before demonstrating how the study of ‘défaillances’ across translative layers can be enlightening, by analysing three scenes in Matthew Gregory Lewis’ gothic novel The Monk (1796), Antonin Artaud's French translation (1931), and John Phillips’ back-translation (2003). It argues that the study of back-translations is valuable retrospectively, insofar as it magnifies elements which were underdeveloped in source-texts, and that, in so doing, it has the potential to transform our understanding of the larger trajectory of literary works.

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4

Quak, Arend. "Die Psalmen in gotischer Sprache." Amsterdamer Beiträge zur älteren Germanistik 80, no. 1-2 (August 12, 2020): 25–65. http://dx.doi.org/10.1163/18756719-12340173.

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Abstract Although the text of the psalms did not survive in Wulfila’s Gothic bible translation, some verses are cited in the bible fragments and in other Gothic texts. Here these quotes are compared with surviving West-Germanic translations of the same passages to view the differences and the similarities between them.

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Mills, Kirstin A. "Haunted by ‘Lenore’: The Fragment as Gothic Form, Creative Practice and Textual Evolution." Gothic Studies 23, no. 2 (July 2021): 132–47. http://dx.doi.org/10.3366/gothic.2021.0090.

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This article examines the processes of fragmentation and haunting surrounding the explosion of competing translations, in 1796, of Gottfried August Bürger's German ballad ‘Lenore’. While the fragment has become known as a core narrative device of the Gothic, less attention has been paid to the ways that the fragment and fragmentation operate as dynamic, living phenomena within the Gothic's central processes of memory, inspiration, creation, dissemination and evolution. Taking ‘Lenore’ as a case study, this essay aims to redress this critical gap by illuminating the ways that fragmentation haunts the mind, the text, and the history of the Gothic as a process as much as a product. It demonstrates that fragmentation operates along lines of cannibalism, resurrection and haunting to establish a pattern of influence that paves the way for modern forms of gothic intertextuality and adaptation. Importantly, it thereby locates fragmentation as a process at the heart of the Gothic mode.

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6

Ratkus, Artūras. "Greek ἀρχιερεύς in Gothic translation." NOWELE / North-Western European Language Evolution 71, no. 1 (April 5, 2018): 3–34. http://dx.doi.org/10.1075/nowele.00002.rat.

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Abstract One of the most remarkable examples of variation in the Gothic Bible is the translation of the Greek compound ἀρχιερεύς ‘chief priest’, accorded as many as seven different Gothic renderings. By examining the distribution of the Gothic examples and the contexts in which they occur, this paper challenges the traditional assumptions on the variation and argues that the variants are due to the exegetical and creative inputs of the translator. It is improbable that the variation was brought about under the influence of pre-Vulgate Latin and unlikely that the different renderings were introduced by putative post-Wulfilian revisers of the Gothic text. The findings call into question the traditional narrative of Wulfila’s single-handed translation of the Bible into Gothic.

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7

Aguirre, Manuel. "‘Thrilled with Chilly Horror’: A Formulaic Pattern in Gothic Fiction." Studia Anglica Posnaniensia 49, no. 2 (January 29, 2015): 105–23. http://dx.doi.org/10.2478/stap-2014-0010.

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Abstract This article is part of a body of research into the conventions which govern the composition of Gothic texts. Gothic fiction resorts to formulas or formula-like constructions, but whereas in writers such as Ann Radcliffe this practice is apt to be masked by stylistic devices, it enjoys a more naked display in the–in our modern eyes–less ‘canonical’ Gothics, and it is in these that we may profitably begin an analysis. The novel selected was Peter Teuthold’s The Necromancer (1794)–a very free translation of K. F. Kahlert’s Der Geisterbanner (1792) and one of the seven Gothic novels mentioned in Jane Austen’s Northanger Abbey. There is currently no literature on the topic of formulaic language in Gothic prose fiction. The article resorts to a modified understanding of the term ‘collocation’ as used in lexicography and corpus linguistics to identify the significant co-occurrence of two or more words in proximity. It also draws on insights from the Theory of Oral-Formulaic Composition, in particular as concerns the use of the term ‘formula’ in traditional epic poetry, though again some modifications are required by the nature of Teuthold’s text. The article differentiates between formula as a set of words which appear in invariant or near-invariant collocation more than once, and a formulaic pattern, a rather more complex, open system of collocations involving lexical and other fields. The article isolates a formulaic pattern—that gravitating around the node-word ‘horror’, a key word for the entire Gothic genre –, defines its component elements and structure within the book, and analyses its thematic importance. Key to this analysis are the concepts of overpatterning, ritualization, equivalence and visibility.

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8

Verri, Giovanni, and Matteo Tarsi. "Two Short Essays by Árni Magnússon on the Origins of the Icelandic Language." Historiographia Linguistica 45, no. 1-2 (June 20, 2018): 71–98. http://dx.doi.org/10.1075/hl.00016.tar.

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Summary This article presents two essays by the renowned Icelandic manuscript collector Árni Magnússon (1663‒1730): De gothicæ lingvæ nomine [On the expression ‘the Gothic language’] and Annotationes aliqvot de lingvis et migrationibus gentium septentrionalium [Some notes on the languages and migrations of the northern peoples]. The two essays are here edited and published in their original language, Latin. Moreover, an English translation is also presented for ease of access. After a short introduction (§ 1), a historical overview of the academic strife between Denmark and Sweden is given (§ 2). Subsequently (§ 3), Árni Magnússon’s life and work are presented. In the following Section (§ 4), the manuscript containing the two essays, AM 436 4to, is described. The two essays are then edited and translated in Section 5. In the last Section (§ 6), the two works are commented and Árni Magnússon’s scholarly thought evaluated.

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9

Van Hoof, Henri. "Traduction biblique et genèse linguistique." Babel. Revue internationale de la traduction / International Journal of Translation 36, no. 1 (January 1, 1990): 38–43. http://dx.doi.org/10.1075/babel.36.1.05van.

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The article describes a number of situations where Bible translation resulted in the birth of new or the expansion of existing languages. Examples of the first category are the Gothic, Armenian and Russian languages, for which even specific alphabets had to be invented. To illustrate the second category reference is made to English and German, which, although they had already emerged as vulgar competitors of Latin as early as the XlVth century, were given a boost by the many Bible translations generated by the Reformation. Both in England and in Germany these translations helped to unify and shape the English and German tongues and to develop their literary qualities.

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Ratkus, Artūras. "The Stylistic Uses of Gothic Passive Constructions." Vertimo studijos 12 (December 20, 2019): 116–37. http://dx.doi.org/10.15388/vertstud.2019.8.

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This paper explores the variation between non-past (present and future) synthetic and periphrastic passive verb forms in the Gothic Gospels in an effort to evaluate the possibility that the availability of functionally identical forms of the passive was exploited by the translators of the Gothic Bible as a way of manipulating the stylistic composition of the Gothic text. Based on the evidence of the Gothic translation of the Gospels, although the Gothic synthetic passive constructions do mostly occur in stylistically special environments, the existence of other clearly verifiable competing motivations makes the stylistic motivations difficult to verify. It is concluded that the distribution of forms is largely determined by factors such as literalism as the main translation technique as well as contrasts between the synthetic and periphrastic ‘be’ passives in terms of the actionality of the former and stativity of the latter.

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Dissertations / Theses on the topic "Translating into Gothic"

1

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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2

Lane, Sarah Vania. "Yann Apperrys Diabolus in musica: a partial translation prefaced by an introduction to the novel and the theory of foreignization." University of British Columbia, 2006. http://hdl.handle.net/2429/78.

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Yann Apperrys third novel, Diabolus in musica, is a pastiche of diabolic and gothic tropes that tells of a musical genius who composes a ballade that kills. Resurrections, doppelgangers and triads are reoccurring themes. Although the narrator kills his doppelganger on the first page, the name of this double, Lazarus, haunts the narrative with the threat of resurrection. Similarly, the threefold tritone, the diabolus in musica, is not only echoed in the numerical structure of Apperrys novel but also in the familial triad: the fathers presence is dark and demoniac, provoking the cruel music that the son in turn forces onto the exterior world; the mother is a ghostly distillation of the Eternal Feminine. In terms of comparative readings, Diabolus can be read alongside Suskinds Perfume as the Bildungsroman of an outsider raised without love who turns astounding genius to homicidal ends. It shares narrative and structural similarities with Manns Doctor Faustus: each tells of a prodigy who composes music and a faithful sidekick who composes narrative; each arranges his novel according to number. Nabokovs influence on Apperrys work is also significant; many parallels are to be found with his third novel, The Defense. Approaches to translation diverge according to their foundational conceptions of language: do we create language or does language create us? To conclude the former is to adopt an approach that focuses on the meanings of source texts while to conclude the latter is to focus more on their formal properties. Caught between these differing conceptions, the translator must choose between domestication and foreignization; I favour the latter for literary translation. I define the literary through a reading of the aesthetic in Dauenhauer and Kristeva, and then I review the arguments that Benjamin, Derrida, Berman and Venuti make in favour of word-based translation. From this I conclude that translation can, in refusing to hide its foreign origins, lead readers into the unknown territory of a strange language, author and text, where they become strangers, and where their language and culture become foreign. With this partial translation of Diabolus, I seek to provoke such an encounter with foreignness.

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3

Van, Der Walt Carol Ann. "A critical edition of the Historia Gotica, a vernacular translation of Rodrigo Ximenez de Rada's de Rebus Hispanie." Thesis, University of Birmingham, 1999. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.367346.

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4

Lacôte, Fanny. "Le marché de la terreur : l’exportation, la traduction et la réception critique du roman terrifiant en France, 1789-1822." Thesis, Université de Lorraine, 2018. http://www.theses.fr/2018LORR0308/document.

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Notre sujet de thèse consiste en l’étude de l’exportation, la traduction et la réception critique du roman gothique en France au tournant du XIXe siècle (1789-1822). Alors que sur le plan politique, la France et l’Angleterre entretiennent des relations conflictuelles, notamment au moment de la Révolution, l’échange culturel entre les deux pays, lui, ne cesse, comme en témoigne le succès des traductions françaises de romans gothiques auprès du lectorat français. Après un avant-propos consacré à l’histoire de l’adjectif « gothique » et à la terminologie relative au roman gothique et au roman noir du tournant du XIXe siècle, la première partie de la thèse aborde le contexte historique, politique et littéraire au sein duquel le roman terrifiant connaît sa plus grande période de vogue. Nous cherchons ensuite à déterminer l’identité des traducteurs, leurs implications politiques dans le contexte de la Révolution française ainsi que le type de roman gothique en vogue pendant la Première République. La seconde partie de la thèse est consacrée au processus d’adaptation du roman gothique à la langue française et aux goûts du lectorat du tournant du XIXe siècle. Nous nous intéressons aux stratégies de traduction, d’adaptation et de publication des traductions françaises du roman gothique par le biais de l’analyse des critères de choix éditoriaux et des méthodes de traduction. A ces fins, nous nous focalisons sur les romans eux-mêmes en termes de description physique (format et volumes) et de paratexte (éléments de la page de titre, épigraphes, dédicaces, préfaces et illustrations). Cette seconde partie se termine avec une étude comparée centrée sur l’appropriation culturelle et politique des thèmes de l’architecture et du surnaturel dans les romans gothiques lors du passage à la langue française. Enfin, dans la troisième et dernière partie de la thèse, nous nous intéressons à l’influence du roman gothique sur la production romanesque française. Nous prenons d'abord en considération les pseudo- traductions et les imitations d’Ann Radcliffe, la figure de proue du gothique anglais, avant de nous concentrer sur les parodies du genre
Our thesis deals with the export, translation and critical reception of the Gothic novel in France at the turn of the nineteenth century (1789-1822). While politically, France and England maintain conflictual relations, especially at the time of the Revolution, the cultural exchange between the two countries never ceased, as evidenced by the success of French translations of Gothic novels. After a foreword devoted to the history of the adjective "Gothic" and the terminology relating to the Gothic novel and the “roman noir” at the turn of the nineteenth century, the first part of the thesis addresses the historical, political and literary context during the apex of the novel of terror. We then seek to determine the identity of translators, their political implications within the context of the French Revolution and the type of Gothic novel in vogue during the First Republic. The second part of the thesis is devoted to the process of adaptation of the Gothic novel to French language and readership of the turn of the nineteenth century. We look at the strategies of translation, adaptation and publication of the Gothic novel in French language through the analysis of the criteria of editorial choices and methods of translation. For these purposes, we focus on the novels themselves in terms of physical description (format and volumes) and paratext (elements of the title page, epigraphs, dedications, prefaces and illustrations). This second part ends with a comparative study centered on the translation process and more particularly on the cultural and political appropriation of the themes of architecture and the supernatural within Gothic novels. Finally, in the third and last part of the thesis, we seek to determine the influence of the Gothic novel on the French literary production. We first take into consideration pseudo-translations and imitations of the figurehead of English Gothic, Ann Radcliffe, before focusing on parodies of the genre

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5

Yang, Tsu-Yen, and 楊祖炎. "Overt and Covert Strategies for Translating a Gothic Horror Novel: A Comparison of Two Chinese Translations of The VAMPYRE; A Tale." Thesis, 2018. http://ndltd.ncl.edu.tw/handle/xem736.

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碩士
中原大學
應用外國語文研究所
106
John William Polidori, the author of THE VAMPYRE; A Tale, was born in 1797. The work THE VAMPYRE is one of the most important works in the Gothic genre, because Polidori for the first time allowed readers to experience the visceral qualities of horror through what is called “vampirism” – the tales of vampires and their victims (Mutch, 2012, p. 7). Hence, Polidori became a well-regarded writer and one of the originators of vampire fictions. In accordance to the overt and covert strategies by House (1997, pp. 66-70) successful translations not only keep source information but also provide richly detailed background information for readers’ understanding. However, in analyzing the simplified Chinese translation produced in China and sourced from the website Yeeyan.org, the researcher found some sections would not convey to Taiwanese readers the visceral experience of terror and death as originally written in English. The present study elaborates on three steps in the textual analysis. First, the researcher applies Juliane House’s theories of overt and covert translation strategies for translating THE VAMPYRE in conveying Polidori’s style of vampirism to Taiwanese readers. Second, the researcher analysis and tries to identify the major differences between the two translations. Finally, the researcher will provide suggestions that translators evoke the interest to target readers by applying overt translation strategy.

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6

Lane, Sarah Vania. "Yann Apperry’s Diabolus in musica: a partial translation prefaced by an introduction to the novel and the theory of foreignization." 2006. http://hdl.handle.net/2429/78.

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Abstract:

Yann Apperry’s third novel, Diabolus in musica, is a pastiche of diabolic and gothic tropes that tells of a musical genius who composes a ballade that kills. Resurrections, doppelgangers and triads are reoccurring themes. Although the narrator kills his doppelganger on the first page, the name of this double, Lazarus, haunts the narrative with the threat of resurrection. Similarly, the threefold tritone, the “diabolus in musica,” is not only echoed in the numerical structure of Apperry’s novel but also in the familial triad: the father’s presence is dark and demoniac, provoking the cruel music that the son in turn forces onto the exterior world; the mother is a ghostly distillation of the Eternal Feminine. In terms of comparative readings, Diabolus can be read alongside Suskind’s Perfume as the Bildungsroman of an outsider raised without love who turns astounding genius to homicidal ends. It shares narrative and structural similarities with Mann’s Doctor Faustus: each tells of a prodigy who composes music and a faithful sidekick who composes narrative; each arranges his novel according to number. Nabokov’s influence on Apperry’s work is also significant; many parallels are to be found with his third novel, The Defense. Approaches to translation diverge according to their foundational conceptions of language: do we create language or does language create us? To conclude the former is to adopt an approach that focuses on the meanings of source texts while to conclude the latter is to focus more on their formal properties. Caught between these differing conceptions, the translator must choose between domestication and foreignization; I favour the latter for literary translation. I define the literary through a reading of the aesthetic in Dauenhauer and Kristeva, and then I review the arguments that Benjamin, Derrida, Berman and Venuti make in favour of word-based translation. From this I conclude that translation can, in refusing to hide its foreign origins, lead readers into the unknown territory of a strange language, author and text, where they become strangers, and where their language and culture become foreign. With this partial translation of Diabolus, I seek to provoke such an encounter with foreignness.

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7

GALVANI, CHRISTIANE MESCH. "A FEMALE PERSPECTIVE ON THE MYSTICAL EXPERIENCE: MECHTHILD VON MAGDEBURG'S "EIN VLIESSENDES LIEHT DER GOTHEIT" IN A COMPLETE ENGLISH TRANSLATION, WITH ANNOTATIONS AND INTRODUCTION." Thesis, 1987. http://hdl.handle.net/1911/13218.

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This is a translation of the only complete manuscript of Mechthild von Magdeburg's work, which was discovered in 1861 in Einsiedeln by Carl Greith and transcribed and published by P. Gall Morel in 1869. Mechthild (1212-1298) dictated Books I to VI to her friend and confessor, Heinrich von Halle, who rearranged the sequence of the chapters and translated them into Latin, entitling the work Lux Divinitas in Corda Veritatis. The original Low German version of Books I to VII was translated into High German by Heinrich von Noerdlingen in 1344. Notwithstanding difficulties due to inconsistencies of orthography, ambiguities, illogical use of the negative and confusing diacritical marks made by the editor, this translation remains as faithful in both content and format to the text as possible. Lyrical passages, however, were translated into prose so as not to sacrifice Mechthild's meaning to the pursuit of assonance.

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Books on the topic "Translating into Gothic"

1

M, Trofimova I͡U. Leksiko-semanticheskai͡a sistema gotskogo i͡azyka. Saransk: Izd-vo Mordovskogo universiteta, 1993.

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Kyōka, Izumi. Japanese gothic tales. Honolulu: University of Hawai ì Press, 1996.

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Kyōka, Izumi. Japanese gothic tales. Honolulu: University of Hawaiì Press, 1996.

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F, Odoevskiĭ V. The salamander & other Gothic tales. London: Bristol Classical Press, 1992.

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Sade. The gothic tales of the Marquis de Sade. London: Peter Owen, 2000.

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F, Odoevskii V., and Odoevskiĭ V. F. The salamander and other Gothic tales. Evanston, Ill: Northwestern University Press, 1992.

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Kyōka, Izumi. Three tales of mystery and imagination: Japanese gothic. [S.l.]: [s.n.], 1992.

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Claudianus, Claudius. Cl. Claudiani De bello Gothico. L'Aquila: Japadre editore, 1991.

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9

Red spectres: Russian Gothic tales from the twentieth century. New York, NY: Overlook Press/Ardis, 2013.

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Sparling, Jennifer Rachel. A linguistic commentary on bishop Wulfila's gothic translation of chapters I & II of St Mark's gospel. Birmingham: University of Birmingham, 2001.

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Book chapters on the topic "Translating into Gothic"

1

Murnane, Barry. "Translating Technologies: Dickens, Kafka and the Gothic." In Le Gothic, 201–18. London: Palgrave Macmillan UK, 2008. http://dx.doi.org/10.1057/9780230582811_13.

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Snædal, Magnus. "Gothic Contact with Greek: Loan Translations and a Translation Problem." In NOWELE Supplement Series, 75–90. Amsterdam: John Benjamins Publishing Company, 2015. http://dx.doi.org/10.1075/nss.27.04sna.

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Williams, John. "Translating Mary Shelley’s Valperga into English." In European Gothic. Manchester University Press, 2017. http://dx.doi.org/10.7765/9781526125699.00014.

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Miller, D. Gary. "The Goths and Gothic." In The Oxford Gothic Grammar, 1–20. Oxford University Press, 2019. http://dx.doi.org/10.1093/oso/9780198813590.003.0001.

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Despite many defenses of the traditional account, there is no secure evidence for a Scandinavian origin of the Goths, no runic evidence, and linguistic parallels between Gothic and Old Norse are inconclusive. In their continual encounters with the Romans, the Goths experienced considerable language contact. Not only are there many borrowings from Latin, but many Greek words in Gothic have their Latin form and there are layers of borrowings from Greek as well. The entire Gothic corpus contains a little over 70,000 words preserved in some fifteen documents. Many mysteries surround the Gothic translation of the Bible, traditionally ascribed to Wulfila. Evidence for multiple translators is presented from lexical, morphological, and syntactic localization, as well as the range from fully idiomatic to marginally acceptable to ungrammatical constructions.

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Hale, Terry. "Translation in distress." In European Gothic. Manchester University Press, 2017. http://dx.doi.org/10.7765/9781526125699.00007.

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Uden, James. "Queer Urges and the Act of Translation." In Spectres of Antiquity, 121–56. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780190910273.003.0005.

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The fourth chapter of the book turns to Matthew Lewis, author of the scandalous 1796 novel The Monk. More than many of his contemporaries, Lewis was able to blend intricate and learned allusions to Greek and Roman literature into the popular frame of his Gothic texts. This chapter argues that he uses these allusions to give voice to particular anxieties: about the consequences of Gothic publishing and, particularly, about his own queer desires. The chapter begins by examining the translations in The Monk of poems of Horace and Anacreon, both explicitly homoerotic texts from antiquity. Second, it turns to The Love of Gain (1799), a free translation of a satire of Juvenal, which Lewis used as a covert means of defending his career as an author of Gothic texts. Finally, I turn to a translation of Goethe in Lewis’s ballad collection, Tales of Wonder (1800), and a classicizing parody of that translation in the accompanying volume, Tales of Terror (1801), both of which comment implicitly on Lewis’s own specific authorial and erotic anxieties. Rather than truly blending Gothic and classical, Lewis uses the erudite allusions to antiquity to open up a new channel of communication within popular works, giving voice to desires and fears that would otherwise have remained unsaid.

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Troy, Maria Holmgren. "Lost (and gained) in translation." In Nordic Gothic. Manchester University Press, 2020. http://dx.doi.org/10.7765/9781526126443.00014.

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"NOTE ON TRANSLATION AND TRANSLITERATION." In Hebrew Gothic, xi—xiv. Indiana University Press, 2019. http://dx.doi.org/10.2307/j.ctvpb3w19.4.

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Mullen, Lisa. "Lost in translation." In Mid-century gothic. Manchester University Press, 2019. http://dx.doi.org/10.7765/9781526132789.00007.

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"Notes to the translation." In The Gothic Missal, 307–21. Turnhout: Brepols Publishers, 2017. http://dx.doi.org/10.1484/m.cct-eb.4.2017036.

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