Del 39 i serien Approaches to Translation Studies

Voices of Suspense and Their Translation in Thrillers

Häftad, Engelska, 2014

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The volume aims to be a reference work for all researchers interested in the study of fictional dialogue and its translation in suspense novels and films as well as in related genres. The volume also aims to determine the interplay between the creation of suspense and fictional dialogue. The particular interest in dialogue comes from the host of roles it plays in fiction. It helps create suspense and arouses a whole range of feelings in the reader or the audience related to the development of the plot.Fictional dialogue is the discursive method of evoking orality, conferring authenticity and credibility on a plot and giving fictional characters a voice. As a narrative strategy, dialogue is an important resource that enables the writer to shape the character’s subjectivity. In thrillers the characters’ voice is part of the process of creating suspense, an element of uncertainty, anxiety and excitement, which is not exclusive to this genre. To clearly differentiate suspense from the tension created by other types of fiction, this volume aims to study the relationship between the characters’ voices and the building of suspense and to describe the translation difficulties arising from this particular interdependence.

Produktinformation

Utgivningsdatum2014-01-01
Mått155 x 235 x 16 mm
Vikt469 g
FormatHäftad
SpråkEngelska
SerieApproaches to Translation Studies
Antal sidor300
FörlagBrill
ISBN9789042038226

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Abbreviations used in this volume Susanne M. Cadera and Anita Pavić Pintarić: Introduction: Creation of suspense through dialogue and its translationPart I: Creating suspense in literature and film Dirk Delabastita: Thrilled by Trilby? Dreading Dracula? Late-Victorian thrillers and the curse of the foreign tongueSanja Škifić and Rajko Petković: Stylistic and linguistic creation of suspense in Quentin Tarantino’s Pulp Fiction and Reservoir DogsSoledad Díaz Alarcón: The voices of suspense and the French detective novel: Alain Demouzon’s MelchiorLeah Leone: Reconstructing suspense: Borges translates Faulkner’s The Wild PalmsPart II: Translation of language variation and foreign language useDaniel Linder: Chester Himes’s For Love of Imabelle in Spanish: Josep Elias’s “absurdly” overcompensated slangJosé Luis Aja Sánchez: “Se so’ sparati a via Merulana”: Achieving linguistic variation and oral discourse in the French and Spanish versions of Quer pasticciaccio brutto de via Merulana (chapter 1)Jean Anderson: Bringing home the banter: Translating “empty” dialogue in exotic crime fictionGiuseppe De Bonis: The semiotic implications of multilingualism in the construction of suspense in Alfred Hitchcock’s filmsPart III: Transferring narrative structure, plot and semiotic elements in translation Jenny Brumme: The narrator’s voice in translation: What remains from a linguistic experiment in Wolf Haas’s Brenner detective novelsGuilhem Naro and Maria Wirf Naro: Reducing distance between characters, narrator and reader. Fictive dialogue in Steinfest’s Nervöse Fische and its translation into FrenchAnna Espunya: Shifting points of view: The translation of suspense-building narrative styleKaren Seago: Red herrings and other misdirection in translationLaila C. Ahmad Helmi: Resonant voices: The illocutionary reconstruction of suspense in the translation of dialogueBárbara Martínez Vilinsky: Analysis of the different features and functions of dialogue in a comparable corpus of crime novelsAnita Pavić Pintarić and Sybille Schellheimer: Translating emotions expressed in nonverbal features of dialogues in the novel: Schnee in VenedigCamino Gutiérrez Lanza: English-Spanish subtitling and dubbing (1960s and 1970s): Voices of suspense in Polanski’s RepulsionName index Subject index

“The languages covered in this collection are English, Italian, Spanish, French, German, Croatian and Arabic. It is refreshing that not all contributions involve translation into or out of English, but in light of the ever-expanding circulation of crime fiction in translation, the volume would have benefited greatly from more non-European and non-Western perspectives. The collection is nevertheless a welcome addition to the field of crime fiction translation, which has seen relatively few book length studies. The genre’s global diffusion and the high volume of translational exchange suggest we can expect – and hope – to see more research in this area in the years to come.” - Brigid Maher, La Trobe University, Melbourne, in: Translation Studies, 2014