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Taschenbuch. Zustand: Neu. Neuware - The contributions to this volume are organised in a way that bear out the vitality of translation activity in the medieval period and the resourcefulness of modern scholarship in addressing the phenomenon of translation at large. No other period relies so heavily on this literary process to c…onstruct its cultural identity. Translations from Latin into the vernacular, or from one vernacular into another, or even from a vernacular into the Latin language, are just a few of the many forms medieval translation can take. The codification of the translation process as appropriation, transformation, or accommodation does not sufficiently emphasize the overarching curiosity and interest that motivates any translation activity. Rather, preceding the stages of appropriation and re-interpretation, it is positive inquisitiveness and openness towards linguistic and cultural difference that generate the production of a new text and the transference of culture from one sphere to another. Translation practice creates a dialogic exchange between cultures, it recognises difference and diversity, both linguistic and cultural, yet it also shapes its new product for the use of an audience or readership that is concurrently aware of the reciprocal need to participate in that exchange, in order to improve its own culture. It is that positive inquisitiveness which this volume emphasizes. The volume initially addresses the way in which translators dealt with texts from the early medieval period. It then considers the phenomenon of bilingualism and the privileged relationship that England held with the continent, especially the Italian and French literary traditions. The third part of this volume tackles the problem of fifteenth-century religious translation in England and, to a lesser extent, France, and complicates it by showing its inevitable political implications. Understood more particularly as an act of cultural transfer, translation activity can also be considered beyond the linguistic process. The fourth part of the volume deals with several instances of translations from one genre into another, and from one media into another. The contributions to this volume provide some answers to conundrums in the theory and practice of translation encountered during the medieval period. They also point to new ways of considering this literary process, and by praising diversity and difference, they suggest a less traumatic way of reading Babel than is usually implied.
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Zustand: gut. Medieval Translator. Traduire au Moyen Age Lost in Translation? In deutscher Sprache. pages.
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In den WarenkorbPaperback, XX+382 p., 38 b/w ill., 150 x 230 mm. ISBN 9782503531397. The contributions to this volume are organised in a way that bear out the vitality of translation activity in the medieval period and the resourcefulness of modern scholarship in addressing the phenomenon of translation at large. No other period relies so heavi…ly on this literary process to construct its cultural identity. Translations from Latin into the vernacular, or from one vernacular into another, or even from a vernacular into the Latin language, are just a few of the many forms medieval translation can take. The codification of the translation process as appropriation, transformation, or accommodation does not sufficiently emphasize the overarching curiosity and interest that motivates any translation activity. Rather, preceding the stages of appropriation and re-interpretation, it is positive inquisitiveness and openness towards linguistic and cultural difference that generate the production of a new text and the transference of culture from one sphere to another. Translation practice creates a dialogic exchange between cultures, it recognises difference and diversity, both linguistic and cultural, yet it also shapes its new product for the use of an audience or readership that is concurrently aware of the reciprocal need to participate in that exchange, in order to improve its own culture. It is that positive inquisitiveness which this volume emphasizes. The volume initially addresses the way in which translators dealt with texts from the early medieval period. It then considers the phenomenon of bilingualism and the privileged relationship that England held with the continent, especially the Italian and French literary traditions. The third part of this volume tackles the problem of fifteenth-century religious translation in England and, to a lesser extent, France, and complicates it by showing its inevitable political implications. Understood more particularly as an act of cultural transfer, translation activity can also be considered beyond the linguistic process. The fourth part of the volume deals with several instances of translations from one genre into another, and from one media into another. The contributions to this volume provide some answers to conundrums in the theory and practice of translation encountered during the medieval period. They also point to new ways of considering this literary process, and by praising diversity and difference, they suggest a less traumatic way of reading Babel than is usually implied. Languages : French, English. 0 g.
Weitere BilderLe Grand Livre du Cirque : Préface de Federico Fellini [ Complet des 2 volumes ]
RENEVEY, Monica J. & Antony D. HIPPISLEY COXE & Jacques GARNIER & Friedel ZSCHARSCHUCH & Hubert TIECHE & Giuseppe RIVAROLA & Josep VINYES SABATES & Alf DANIELSSON & Jan BRABEC & A.H. SAXON & Manuel H. de la ROSA & Alain LE COULTRE & H. CAZIER-CHARPENTIER & Pierre ROBERT LEVY & Christian OGER & Jean BARRET-ZEMGANNO
Sprache: Französisch
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In den WarenkorbCouverture illustrée. Zustand: Très bon. Edition Originale. Genève : Edito-Service - Bibliothèque des Arts, 1977. Deux volumes petit in-4. 456-(23); 451-(16)pp. (très riche iconographie couleurs et n/b dont des tableaux généalogiques des familles Sanger, Rancy, Althoff, Rebernigg, Knie, Schumann et Ashton). Reliure éditeur carto…nnée illustrée sous étui cartonné illustré. Très bon état. Format 20,3 x 27,3 cm. Poids 4.360 kg. Contenu : Préface. I. Le cirque des temps anciens. II. Nuit médiévale et Renaissance. III. Banquistes et romanis. IV. Troupes ambulantes et théâtres fixes. V. Philip Astley. VI. Le cirque des îles Britanniques. VII. Le cirque français. VIII. Les Français et l'Europe. IX. Cirques allemand et autrichien. X. Le cirque suisse. XI. Le cirque italien. XII. Les cirques de la péninsule Ibérique. XIII. Cirques de Scandinavie. XIV. Cirques du Benelux. XV. Les cirques d'URSS et d'Europe centrale. XVI. Les grandes tournées. XVII. Le cirque américain. XVIII. Cirques d'ailleurs. XIX. Le cirque et les arts. Glossaire. XX. Cheval et art équestre. XXI. De la pantomime à la mise en scène. XXII. Les clowns. XXIII. Force et acrobatie. XXIV. Equilibristes, jongleurs et funambules. XXV. Les aériens. XXVI. Dresseurs et dompteurs. XXVII. Habileté, illusion. XXVIII. Numéros insolites. XXIX. Cirques sous l'eau et sur la glace. XXX. Musique et parade. XXXI. Ateliers et quartiers d'hiver. XXXII. Voyages, itinéraires et publicité. XXXIII. Montage et démontage. XXXIV. Side-shows et ménageries. XXXV. Vie privée et tâches quotidiennes. XXXVI. Derrière la gardine. Index.
