Relevant bibliographies by topics / Genre, Babel

Academic literature on the topic 'Genre, Babel'

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Published: 10 December 2022
Last updated: 28 January 2023

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Journal articles on the topic "Genre, Babel"

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Lhote, Florence. "Genre et genres : le VIH par ses récits." Babel, no. 41 (May 18, 2020): 203–34. http://dx.doi.org/10.4000/babel.10391.

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Missud-Juramie, Jocelyne. "Une bibliothèque oubliée : le genre troubadour." Babel, no. 6 (January 1, 2002): 85–104. http://dx.doi.org/10.4000/babel.1957.

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Mok, Olivia. "Strategies of Translating Martial Arts Fiction." Babel. Revue internationale de la traduction / International Journal of Translation 47, no. 1 (December 31, 2001): 1–9. http://dx.doi.org/10.1075/babel.47.1.02mok.

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The strategies of translating Fox Volant of the Snowy Mountain, a martial arts novel by Jin Yong, into English are determined mainly by the skopos of bringing Jin Yong’s work to life for a Western audience, shaped also by the translator’s ideology and the poetics dominant in the receiving culture. It follows that the functions associated with translating this literary text, a major genre in contemporary Chinese literature, would include introducing martial arts fiction as a literary genre; introducing Jin Yong as a master storyteller; and presenting genre-specific devices employed in penning a classic work. An overriding strategy adopted by the translator proved to be extensive rewriting into the target language as the translated work only materialized after serious efforts at recreative translating. The fluent translation strategy, when aptly used, is the one that effects transparency, thereby evoking authorial presence in a literary translation.
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Thornton, Niamh. "Alejandro González Iñárritu’s melodramatic masculinities." Studies in Spanish & Latin American Cinemas 18, no. 1 (March 1, 2021): 57–72. http://dx.doi.org/10.1386/slac_00036_1.

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Melodrama is a genre with deep roots in Mexican cinema with distinct conventions and particularities. Alejandro González Iñárritu (AGI) demonstrates a fluency in this genre integrating it into the conventions of transnational art house cinema. As someone whose auteur status is conferred both through multiple prestigious awards and articulations of his creative self as originator of his projects, AGI’s play with genre is often overlooked. Using videographic criticism as a tool for analysis, this article considers the actor’s dynamic performances in AGI’s male-centred melodramas Amores perros (2000), 21 Grams (2003), Babel (2006), Birdman or (The Unexpected Virtue of Ignorance) (2014) and The Revenant (2015).
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Nizhnik, Anna. "Literary rhythm of the cycle by Isaac Babel “Red Cavalry”." Litera, no. 12 (December 2020): 10–17. http://dx.doi.org/10.25136/2409-8698.2020.12.34407.

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This article examines the cycle by Isaac Babel “Red Cavalry in the context of literary trends of the 1920s. I. Babel avoided various literary organizations and loud manifestos; therefore, his role within the post-revolutionary literary system remains somewhat isolated: he had a reputation of a realist writer (although with some reservations) mostly due to specifically historical backstory of his military cycle. In this regard, his literary style is rarely viewed as a phenomenon of modernist literature – metareflective, intertextual, centered on the experiments with literary form. However, the works of I. Babel can be viewed as a characteristic to modernism phenomenon of “synthesis of arts” – not only painting and cinematography, but music as well. His musicality is traced both on the semantic level and particular recurring images, an on the level of rhythmic structure of the text. The article demonstrates “pretexts” (genre and stylistic models) that underlie the cycle “Red Cavalry”: folk songs, revolutionary marches, poetry of French symbolism (namely A. Rimbaud), which targeted to substitute versification with a rhythmic prose. Thus, some elements of I. Babel's prose are interpreted as variations of a free verse, which corresponds to the draft genre definitions given by the author to his stories, as well as to his writing style testified by some of his contemporaries.
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Igareda, Paula. "Approach to the translation of sound in comic books." Babel. Revue internationale de la traduction / International Journal of Translation 63, no. 3 (November 3, 2017): 343–63. http://dx.doi.org/10.1075/babel.63.3.03iga.

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Abstract The relationship between texts and images in comics is essential from the graphic point of view and for the understanding of the story. Hence, the translation of comics has certain peculiarities that other literature genres do not have, partly due to its combination of iconic language and literary language. Among the wide array of interesting topics within this field, we are going to focus on a great challenge for translators: the graphic and phonetic values of the sounds in comics. Technical advances have improved comic books translation: nowadays modifying an element of the vignette no longer involves redrawing the whole animation. Thus, the translation of this literature genre can now focus on other problematic issues, such as the translation of sounds. Taking into account the lack of categorization of these sounds, this article deals with the translation of inarticulate sounds, interjections and onomatopoeias from English comic books into Spanish in order to observe the existing trends in these issues and to confirm if the new technologies have changed the translators’ task in the last 25 years.
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Fuertes Olivera, Pedro A., Silvia Montero Martínez, and Mercedes Garcia de Quesada. "Modelos culturales y discursivos en la traducción de textos de comercio internacional." Babel. Revue internationale de la traduction / International Journal of Translation 51, no. 4 (December 31, 2005): 357–79. http://dx.doi.org/10.1075/babel.51.4.06fue.

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Resumen La traducción de las Convenciones y las Leyes Modelo, documentos prototípicos emitidos por las Naciones Unidas en relación con la legislación reguladora del Comercio Internacional, constituye un caso de documentos iguales. Éstos muestran una gran dependencia entre el texto en lengua origen y el texto en lengua meta. Este artículo analiza algunos ejemplos de estos documentos en inglés y en español con el objetivo de proponer soluciones a algunos problemas de traducción relacionados con la semiótica de la cultura. En concreto, nuestro objetivo es, por un lado, analizar los modelos discursivos que subyacen a estos productos textuales y que se reflejan en algunos elementos macrotextuales tales como los abstracts, summaries y preámbulos; por otro, ilustrar la relación entre traducción e ideología, más concretamente, entre traducción y género. Nuestro análisis pone de manifiesto que pueden surgir problemas relacionados con la traducción del género en su doble acepción de ‘constructo social que hace referencia a actitudes socio culturales’ y de ‘tipo textual caracterizado por una serie de convenciones aceptadas por una comunidad discursiva’. Résumé Les conventions et lois-modèles des Nations-Unies sont des documents prototypiques concernant la réglementation du commerce international. Leur traduction donne lieu à des exemplaires des documents égaux (Sager 1998), caractérisés par un niveau élevé de dépendance réciproque entre le texte dans la langue source et dans la langue cible. Cet article traite de certains documents anglais et espagnols, afin d’offrir des solutions possibles concernant les difficultés de traduction, dues aux aspects de signification culturelle, en particulier à certains aspects de la signification relative à la triade genre–texte– discours (Hatim et Mason 1997). Plus précisément, nous analysons les modèles discursifs, formalisés au moyen d’éléments macro-textuels comme les résumés, les synthèses et les préambules, et nous étudions la traduction de l’idéologie (« genre »). Abstract The United Nations Conventions and Model Laws are prototypical documents related to regulation in International Trade. Their translation gives rise to exemplars of equal documents (Sager 1998), characterized by a high degree of reciprocal dependence between the text in the source and target language. This paper focuses on some English and Spanish documents to offer possible solutions regarding translation difficulties due to aspects of cultural meaning, particularly some aspects of meaning related with the genre-text-discourse triad (Hatim and Mason 1997). More specifically, we analyze the discursive models formalized through macrotextual elements such as abstracts, summaries and preambles, and we study the translation of ideology (‘gender’).
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Cao, Deborah. "Strategies in Translating Oral History Between Chinese and English." Babel. Revue internationale de la traduction / International Journal of Translation 40, no. 3 (January 1, 1994): 137–45. http://dx.doi.org/10.1075/babel.40.3.03cao.

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L'article se penche sur les traductions en anglais et en chinois de la tradition orale en se référant plus particulièrement aux traductions en anglais de la tradition orale Chinoise, Beijingren, de Zhang Xinxin et Sang Ye, et à la traduction en chinois de la tradition orale anglaise, American Dreams, par Studs Turkel. Par ailleurs, l'article propose des stratégies permettant de traduire ce genre littéraire dans deux langues aussi éloignées l'une de l'autre que sont l'anglais et le chinois. Il défend la thèse que ce sont les aspects linguistiques et non linguistiques de la tradition orale qui doivent l'emporter sur toute autre considération pour déterminer la méthode de transfert et les stratégies de traduction à utiliser. Dans son étude, l'auteur identifie trois problématiques principales d'ordre linguistique et sociolinguistique, dignes de susciter l'intérêt du traducteur amené à traduire la tradition orale. Il s'agit de la syntaxe, de la lexicologie et de l'emploi des varietés linguistiques dans la traduction. L'article aborde le problème des différences entre la langue écrite et parlée, entre les dialectes et les registres en traduction. Il fait remarquer que ces problèmes son liés à l'énorme différence qu'il y a entre l'anglais et le chinois, aussi bien du point de vue linguistique que sociolinguistique, et aux aspects spécifiques de la tradition orale. L'auteur suggère des moyens pour rendre plus efficace la traduction de ce genre de textes. Il propose d'activer différentes astuces linguistiques aussi bien au niveau linguistique que sociolinguistique, en vue de ratteindre le style particulier de la tradition orale.
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Kourdis, Evangelos. "Étude sémiotique des techniques de traduction interlinguale." Babel. Revue internationale de la traduction / International Journal of Translation 60, no. 1 (November 24, 2014): 1–21. http://dx.doi.org/10.1075/babel.60.1.01kou.

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The scope of this paper is the semiotic study of the techniques of interlingual translation of French film titles into Greek. Firstly, approaching the film titles as advertisement slogans, we will examine if advertisement characteristics and functions are present into both the French and Greek film titles. Then, we will study the process of translation of connotations of the film titles and the role of non verbal semiotic systems such as numbering and punctuation in translation. Also, we will examine if translation techniques are influenced by extra-linguistic factors such as the period of film production, the film genre, diacritics, and the principle of economy of the words. If a relation does exist between translation techniques and extra-linguistic factors this could be used for a second, a semiotic reading.
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Pajares, Eterio. "Literature and Translation." Babel. Revue internationale de la traduction / International Journal of Translation 46, no. 3 (December 31, 2000): 193–210. http://dx.doi.org/10.1075/babel.46.3.02paj.

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Translation and literature walked hand in hand during the eighteenth century. The English novel became very well known throughout Europe and it was widely translated into most European languages. Richardson’s and Fielding’s novels were translated into French almost immediately and from this stepping stone were rendered into Spanish about forty years after the appearance of the source text; censorship played an important role in this delay. Once again, translation was the authentic international language that facilitated the transfer of ideas from place to place. My purpose here is to concentrate on the translation not as a process but as a result, focussing on its relationship with the literature and culture of the target language. This study is going to be based on the first Spanish translation of Tom Jones, which contains important differences from the English novel of the same title, because French and Spanish translators and writers alike shared a different concept of the novel as a genre.
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Dissertations / Theses on the topic "Genre, Babel"

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Webster, Helen. "German mysticism in fourteenth-century Basel : gender and genre in Einsiedeln Stiftsbibliothek MS277." Thesis, University of Oxford, 2006. http://ethos.bl.uk/OrderDetails.do?uin=uk.bl.ethos.432271.

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Silvey, Vivien. "Network Films: a Global Genre?" Phd thesis, 2012. http://hdl.handle.net/1885/10535.

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Over the past three decades there has been a boom in films which present collections of strangers whose lives coincidentally intersect, in ways unbeknownst to them but revealed to the audience. Love Actually (Curtis 2003), Babel (Iñárritu 2006), Crash (Haggis 2005), and Magnolia (Anderson 1999) are among the most internationally well known examples of such films. While a fair amount of academic attention has been paid to such films, very little work has investigated whether these types of films constitute a genre in distinction to ensemble films. Furthermore, while some cross cultural comparison has been made of such films, few have considered how the films and the concept of a global genre might relate to discursive terms such as “world cinema” and “art cinema”. Drawing on the genre theory of Rick Altman (1984, 1999) and Paul Willemen's endorsement of comparative film studies (2005), I conduct a comparative genre study of seven network films: Babel, Crash, The Edge of Heaven (Akin 2007), Love for Share (Di Nata 2006), Code Unknown: Incomplete Tales of Several Journeys (Haneke 2000), Lantana (Lawrence 2001), and Mumbai My Life (Kamat 2008). I seek to identify whether these seven examples of network films, which show numerous similarities despite their international origins, share generic qualities. Simultaneously, I conduct analyses of their narrative politics in order to ultimately discuss how such a global group of films reframe notions of “world cinema” and “art cinema”.
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Books on the topic "Genre, Babel"

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Basel, Öffentliche Kunstsammlung. Vorbild Holland: Genre und Landschaft im 19. Jahrhundert. Basel: Kunstmuseum Basel, 2002.

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Falk Symposium (88th 1995 Basel, Switzerland). Molecular diagnosis and gene therapy: Proceedings of the 88th Falk Symposium (part III of the Basel Liver Week), held in Basel, Switzerland, October 22-23, 1995. Dordrecht: Kluwer Academic Publishers, 1996.

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1937-, Reutter Werner, and Basel Liver Week (1986), eds. Modulation of liver cell expression: Proceedings of the 43rd Falk Symposium, held during Basel Liver Week, Basel, October 14 and 15, 1986. Lancaster, England: MTP Press, 1987.

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Wiseman, Mary`. Babes in space: How have women been represented in the science fiction film genre from the 1950's to 2000 and has it reflected the current culture?. London: LCP, 2002.

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Coimbra, João. Torre de Babel e Monte Sinai: modelos de exegese do Antigo Testamento. Brazil Publishing, 2022. http://dx.doi.org/10.31012/978-65-5861-755-6.

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“Tower of Babel and Mount Sinai: Old Testament models of biblical exegesis” is an in-depth study in Genesis 11: 1-9 and Exodus 20: 1-6. An excellent tool for those who want to know and practice the principles of Bible interpretation. The exegesis model follows three fundamental principles: literary analysis, contextual analysis and theological analysis. In literary analysis we work with the delimitation, translation of the text, comparison of versions, the structure and literary genre. In the contextual analysis we emphasize the oral tradition, the literary context of Genesis and an analysis of the socio-historical context. Three approaches were made, regarding the literary formation process, about the environment in which the text was generated and regarding the socio-historical context. In the theological analysis, the study of the correlation of the text, the analysis of the theological content and the practical context for life were carried out. In the first part, we try to answer: To what extent can one accept the text of Genesis 11.1-9 literally? How to harmonize the text with the evident phases in the process of natural language, oral and written tradition? The origin of the languages occurs at the event recorded in Genesis 11? Can the biblical event of the “Tower of Babel” be indicated as the basis for the branching out of multiple languages? Can one defend a linguistic monogenism without considering religion as an included source? Among others. In the second part, the objective is to explain the origin and the importance of monotheism for Christianity based on the exegetical research of Exodus 20.1-6. The main issue is related to the literary, historical and theological relevance to the Christian faith.
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1497-1543, Holbein Hans, Holbein Ambrosius 1494?-1518?, Lindemann Bernd Wolfgang, and Öffentliche Kunstsammlung Basel, eds. Ein Schulmeister schilt vf beiden seiten gemolt: Holbeins Beitrag zur Frühgeschichte des Genrebildes : Kunstmuseum Basel, 26. Juni bis 7. September 1997. Basel: Kunstmuseum Basel, 1997.

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Book chapters on the topic "Genre, Babel"

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Jordan, Julia. "Accident as Form." In Late Modernism and the Avant-Garde British Novel, 65–88. Oxford University Press, 2020. http://dx.doi.org/10.1093/oso/9780198857280.003.0003.

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This chapter argues for the 1960s and 1970s collage novel as perhaps the clearest manifestation of the period’s attraction to indeterminacy, and attempts to chart some of the often artistically inspired cross-currents that inform some of the experimental novels of the period. The chapter examines Alan Burns’s 1969 Babel, also touching on Tom Phillips’s ‘dispersed narrative’ A Humument (begun in 1966), and J. G. Ballard’s 1970 Atrocity Exhibition. These works share as central concerns juxtaposition and formal discontinuity, whereby an idea of errancy is sculptural and generative, allowed its own narrative presence and formal ordering power. As such these texts display an interest in the mechanisms of dispersed attention as an aesthetic value—a certain skittishness assumed in the reader—and so these contingencies of production and consumption become constitutive of the genre, and folded into the distinctive character and affective potency of late modernism itself.
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Sohn-Rethel, Martin. "The Narrative Code of Realism: the case of the ‘multi-strand epic’." In Real to Reel, 119–40. Liverpool University Press, 2016. http://dx.doi.org/10.3828/liverpool/9780993071768.003.0007.

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This chapter describes the narrative code of realism. It discusses four films which can be labelled as 'multi-strand epics': Crash (Paul Haggis, 2004), Babel (Alejandro González Iñárritu, 2006), Short Cuts (Robert Altman, 1993), and Magnolia (Paul Thomas Anderson, 1999). What unites all these films is their rejection of a unified narrative structure in favour of an organisation closer aligned to the segmented narrative of TV drama. What these movies share, along with the iconoclasm of their narrative code, is a developing, indeed an enveloping empowerment of the discursive code of realism. The chapter asks what happens to the workings of realism when the narrative code, in drawing attention to itself and uncoupling itself from any obvious genre, becomes as it were a player in its own right? And what happens when the code of discursive or ideological truth becomes its compensatory, centralising force?
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Van De Mieroop, Marc. "The Vernacular and Its Consequences." In Before and after Babel, 218—C10.P50. Oxford University Press, 2022. http://dx.doi.org/10.1093/oso/9780197634660.003.0012.

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Abstract The writings produced in the Near East and eastern Mediterranean in the first millennium bc document how many vernaculars, each with its own script, were used simultaneously and that the region was characterized by its multilingualism (a feature true throughout its history). The interactions with the cosmopolitan tradition preserved by a succession of empires (Assyrian, Babylonian, Achaemenid, Seleucid, and Parthian) show a range of attitudes that can be analyzed through a postcolonial lens as forms of resistance. For most genres of writing the switch to the vernacular required choices not only of language and script but also of the writing tools. The agents in the movement to write vernaculars were members of the courts, not the wider population, which refutes the commonly accepted idea that the alphabet triumphed in writing because it did not require a palace infrastructure to be taught. The multilingualism that often appears in inscriptions also challenges the notion that vernaculars were expressions of national identities. The rise of vernaculars in writing needs to be seen within the context of local elites in dialogue with the empires and the cosmopolitan literate tradition. Their emergence in alphabetic scripts had as consequence, albeit unintended, that the focus on the written text in epistemology was replaced by one that investigated physical reality instead.
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Cutler, Chris, and Benjamin Piekut. "The Multiple Politics of Henry Cow." In Red Strains. British Academy, 2013. http://dx.doi.org/10.5871/bacad/9780197265390.003.0005.

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Chris Cutler is a percussionist, composer, lyricist, and writer. He was a member of avant-rock group Henry Cow between 1971 and 1978, after which he co-founded international groups including Art Bears, News from Babel, Cassiber, and The Science Group. He founded and runs the independent label and distribution service ReR/Recommended. This chapter recounts the evolution of political concerns within Henry Cow, as manifested in (amongst other things) the group's relationship to the record industry, its attitude to the different musical genres on which it drew, and its aspiration to collective forms of organisation and musical practice. The band's experience of playing for events organised by leftist groups (including the Italian Communist Party) are described, as are the alternative performance circuits established by Cutler in the later 1970s.
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"virtues in his poem, the New Historical critics con-Spenser criticism’ (Berger 1998:181). Yet it has also sider how the poem was fashioned by his culture and allowed them to appreciate Virginia Woolf ’s percept-also how its readers today are fashioned by their iveness in calling Spenser a feminist; see III ii 1–3n. culture; see Hamilton 1995:374–75. A seminal essay For example, Quilligan 1983:38–40 suggests that is Stephen Greenblatt’s ‘To Fashion a Gentleman: the reader who is being fashioned by the poem may be Spenser and the Destruction of the Bower of Bliss’, female, its first reader being Elizabeth; and Wofford in Renaissance Self-Fashioning (1980). To illustrate 1988:6–7 claims that the female reader especially is that Spenser is one of the first English writers with ‘a privileged in Book III. (Their claim is contested by field theory of culture’, he argues that Guyon’s D.L. Miller 1988:217–18, and Gregerson1995:124.) destruction of the Bower invites us ‘to experience On the role of gender in earlier Spenser criticism, the ontogeny of our culture’s violent resistance to see Cohee 2000; on the effect of female authority a sensuous release for which it nevertheless yearns on Spenser’s use of the romance genre, especially in with a new intensity’ (175). As a cultural critic, Books III and IV, see Eggert 2000a:22–37; and on he relates Guyon’s act to ‘the European response to the relation between romance’s rapture and rape, see the native cultures of the New World, the English Eggert 2000b. colonial struggle in Ireland, and the Reformation As one who treats the relation between the sexes attack on images’ (179), but not to the one that in singing ‘of Knights and Ladies gentle deeds’, Book II offers: the knight of temperance is avenging Spenser’s central subject is love from which ‘spring the bloody-handed babe whose parents had been all noble deedes and neuer dying fame’ (III iii 1.9). Acrasia’s victims. (See Hieatt 1992:28, and II xii The presence of a woman on the throne may have 83n.) been anathema to some on the religious right of his Greenblatt’s argument has been extended by day but for all poets it was an enormous blessing, so Louis Adrian Montrose. For example, in answer to I have argued: his argument that the Queen was able ‘at once to fashion her identity and to manipulate the identities of her followers’ (1980:19), he claims that ‘such." In Spenser: The Faerie Queene, 26. Routledge, 2014. http://dx.doi.org/10.4324/9781315834696-24.

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