Translating Orality And The Contrasts Of Language Registers In An American Short Story

This classic work explores the vast differences between oral and literate cultures offering a very clear account of the intellectual, literary and social effects of writing, print and electronic technology. In the course of his study, Walter J. Ong offers fascinating insights into oral genres across the globe and through time, and examines the rise of abstract philosophical and scientific thinking. He considers the impact of orality-literacy studies not only on literary criticism and theory but on our very understanding of what it is to be a human being, conscious of self and other. This is a book no reader, writer or speaker should be without.

Translation is everywhere, and matters to everybody. Translation doesn't only give us foreign news, dubbed films and instructions for using the microwave: without it, there would be no world religions, and our literatures, our cultures, and our languages would be unrecognisable. In this Very Short Introduction, Matthew Reynolds gives an authoritative and thought-provoking account of the field, from ancient Akkadian to World English, from St Jerome to Google Translate. He shows how translation determines meaning, how it matters in commerce, empire, conflict and resistance, and why it is fundamental to literature and the arts. ABOUT THE SERIES: The Very Short Introductions series from Oxford University Press contains hundreds of titles in almost every subject area. These pocket-sized books are the perfect way to get ahead in a new subject quickly. Our expert authors combine facts, analysis, perspective, new ideas, and enthusiasm to make interesting and challenging topics highly readable.

Written in a detailed and fascinating manner, this book is ideal for general readers interested in the English language.

The Routledge Encyclopedia of Translation Studies has been the standard reference in the field since it first appeared in 1998. The second, extensively revised and extended edition brings this unique resource up to date and offers a thorough, critical and authoritative account of one of the fastest growing disciplines in the humanities. The Encyclopedia is divided into two parts and alphabetically ordered for ease of reference:Part I (General) covers the conceptual framework and core concerns of the discipline. Categories of entries include:* c.

As a growing number of contemporary novelists write for publication in multiple languages, the genre's form and aims are shifting. Born-translated novels include passages that appear to be written in different tongues, narrators who speak to foreign audiences, and other visual and formal techniques that treat translation as a medium rather than as an afterthought. These strategies challenge the global dominance of English, complicate "native" readership, and protect creative works against misinterpretation as they circulate. They have also given rise to a new form of writing that confounds traditional models of literary history and political community. Born Translated builds a much-needed framework for understanding translation's effect on fictional works, as well as digital art, avant-garde magazines, literary anthologies, and visual media. Artists and novelists discussed include J. M. Coetzee, Junot Díaz, Jonathan Safran Foer, Mohsin Hamid, Kazuo Ishiguro, Jamaica Kincaid, Ben Lerner, China Miéville, David Mitchell, Walter Mosley, Caryl Phillips, Adam Thirlwell, Amy Waldman, and Young-hae Chang Heavy Industries. The book understands that contemporary literature begins at once in many places, engaging in a new type of social embeddedness and political solidarity. It recasts literary history as a series of convergences and departures and, by elevating the status of "born-translated" works, redefines common conceptions of author, reader, and nation.

In the current context of globalization, relocation of cultures, and rampant technologizing of communication, orality has gained renewed interest across disciplines in the humanities and the social sciences. Orality has shed its once negative image as primitive, non-literate, and exotic, and has grown into a major area of scientific interest and the focus of interdisciplinary research, including translation studies. As an important feature of human speech and communication, orality has featured prominently in studies related to pre-modernist traditions, modernist representations of human history, and postmodernist expressions of artistry such as in music, film, and other audiovisual media. Its wide appeal can be seen in the variety of this volume, in which contributors draw from a range of disciplines with orality as the point of intersection with translation studies. This book is unique in its exploration of orality and translation from an interdisciplinary perspective, and sets the groundwork for collaborative research among scholars across disciplines with an interest in the aesthetics and materiality of orality. This book was originally published as a special issue of Translation Studies.

The observation of poetry translation is an interdisciplinary field, comprising the translation-linguistic aspects of poetic language and one or more supplementary methods which enable critical assessment. This necessitates the involvement of supplementary disciplines, for example, reader response and its amalgamation with cognitive linguistics. Chapter One provides a short historical review of text research, translation theory and cognitive linguistics, highlighting the common points where possible. Chapter Two outlines the practical implementation of the research. Chapter Three outlines the common points of information processing (as assumed in mental conceptual units) and readers’ interpretations. Chapter Four provides an outline of poetry translation with the cognitive approach to it. Chapter Five discusses the results of reception as measured through conceptualisation on the global level of the whole poem. Chapter Six is devoted to the observation of data as gained by conceptualisation on local level. Chapter Seven contains the model of poetry translation criticism, which is based on 9 categories.