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Artykuły w czasopismach na temat "The Spanish trilogy"
Orgeira Crespo, Raquel. "Problems in the Translation of Paul Austers The New York Trilogy". Babel. Revue internationale de la traduction / International Journal of Translation 46, nr 3 (31.12.2000): 227–44. http://dx.doi.org/10.1075/babel.46.3.04org.
Pełny tekst źródłaKorzhukova, E. S. "Non-detective space of the Spanish noir: “The Invisible Guard” by Dolores Redondo". Linguistics & Polyglot Studies 9, nr 2 (29.06.2023): 134–45. http://dx.doi.org/10.24833/2410-2423-2023-2-35-134-145.
Pełny tekst źródłaKubarek, Magdalena. "Raj utracony – losy Morysków w Trylogii grenadzkiej Raḍwy ‘Āšūr. Konteksty postkolonialne". Studia Orientalne 22, nr 2 (2022): 29–47. http://dx.doi.org/10.15804/so2022202.
Pełny tekst źródłaSevilla-Vallejo, Santiago, i Jesús Guzmán Mora. "Identidades transicionales: pasado y presente en Éramos tan jóvenes (Antonia Bueno Mingallón)". Revista de Filología de la Universidad de La Laguna, nr 44 (2022): 211–28. http://dx.doi.org/10.25145/j.refiull.2022.44.13.
Pełny tekst źródłaPöppel, Hubert. "Kastration als <i>ultima ratio</i>: die katalanischen Frauenkrimis der Maria Antònia Oliver". Zeitschrift für Katalanistik 11 (1.07.1998): 101–19. http://dx.doi.org/10.46586/zfk.1998.101-119.
Pełny tekst źródłaCochrane, Claire. "The haunted theatre". Cahiers Élisabéthains: A Journal of English Renaissance Studies 96, nr 1 (11.05.2018): 75–88. http://dx.doi.org/10.1177/0184767818774857.
Pełny tekst źródłaKolotvina, Olga V. "THE KEY FEATURES OF THE AESTHETIC OF J. VAL DEL OMAR’S AUTHOR CINEMA (ON THE CASE STUDY OF THE FILM TRILOGY “ELEMENTARY TRIPTYCH OF SPAIN”)". Articult, nr 1 (2021): 49–58. http://dx.doi.org/10.28995/2227-6165-2021-1-49-58.
Pełny tekst źródłaParra Sánchez, Diego Ernesto. "La Transición a juicio en la trilogía negra de Juan Madrid: el hard boiled como vehículo para la crítica y la expresión del desencanto en la España postransicional". Acta Hispanica 21 (1.01.2016): 117–29. http://dx.doi.org/10.14232/actahisp.2016.21.117-129.
Pełny tekst źródłaIBÁÑEZ-GARCÍA, ESTELA. "Flamenco Trilogy. 1981; 1983; 1986. Directed by Carlos Saura, 4 hours 15 minutes. Spain: Corporación de Radio y Televisión Española, S.A (Spanish Radio and Television Corporation)." Yearbook for Traditional Music 52 (listopad 2020): 252–56. http://dx.doi.org/10.1017/ytm.2020.24.
Pełny tekst źródłaOceánide, O'Donoghue Bernard, Paddy Bushe i Suso De Toro. "Literary Contributions by Paddy Bushe, Bernard O'Donoghue and Suso de Toro". Oceánide 13 (9.02.2020): 127–31. http://dx.doi.org/10.37668/oceanide.v13i.49.
Pełny tekst źródłaRozprawy doktorskie na temat "The Spanish trilogy"
COGOTTI, CARLA MARIA. "Rete simbolica e dinamiche della memoria nella trilogia della guerra civile di Juan Eduardo Zúñiga". Doctoral thesis, Università degli Studi di Cagliari, 2015. http://hdl.handle.net/11584/266810.
Pełny tekst źródłaFontaine, Clarisse. "La trilogie de Rafael Chirbes ou l’histoire d’une génération". Thesis, Pau, 2017. http://www.theses.fr/2017PAUU1038/document.
Pełny tekst źródłaThis work is dedicated to the study of the trilogy of the Spanish writer Rafael Chirbes (1949-2015), made uo of the Larga marcha, La caída de Madrid and Los viejos amigos, and through which the author recounts the recent history of Spain, since the civil war until the return of a democratic regime, via the Francoism period. The narrative study of each novels coupled with a collective approach will allow us to observe how the story of the characters ends up recounting Spain’s History as well as the story of the author’s disillusioned generation
Long, Jia. "De l’instance poétique au discours métadramatique dans la trilogie espagnole de Beaumarchais". Electronic Thesis or Diss., Sorbonne université, 2023. http://www.theses.fr/2023SORUL109.
Pełny tekst źródłaBeaumarchais made his dramaturgical entry when French theatre was undergoing a crisis. How to write as a playwright? He solved this issue on three levels and developed a theory of fusion already started by other precursors: Fontenelle, Nivelle de la Chaussée, Destouches, Voltaire and Diderot. First of all, by advocating the fusion of the comic and the dramatic, he stimulated the effects of gaiety and tenderness in his audience, officially announcing the birth of the new genre: Drama. This overcomes the clear separation between the tragic and the comic, thus taking the first step within the theatrical genre towards a revolution that opens up a whole range of possibilities. Then, by introducing narrative elements into the theatrical genre, he achieved the fusion between the novel and the theatre, revolutionising the concept of dramatic genre. For him, dramatic poetics was not just a question of formal aesthetics, but of the literary extension of his life as a fighter, which relates to the historic, social and political context of his time. From a reception perspective, his use of metadramatic discourse allowed his audience to be constantly wavering between distance and illusion. This revolutionised the relationship between stage and audience, and had a considerable influence on his posterity. In the broadest sense, Beaumarchais’ metatheatrical discourse transcended his time. The secular circulation of the Spanish trilogy will enable Chinese audiences to study Beaumarchais' singular address on his dramatic poetics and its rich ideological connotations, which will blend into Chinese history, society and aesthetics. In this way, Beaumarchais and his works will become part of the genealogy of classical foreign literature in China, and a typical event in the world literature
Montemezzo, Luciana Ferrari. "Trilogia Dramatica da Terra Espanhola, de Federico Garcia Lorca : a tradução como processo e como resultado". [s.n.], 2008. http://repositorio.unicamp.br/jspui/handle/REPOSIP/270312.
Pełny tekst źródłaTese (doutorado) - Universidade Estadual de Campinas, Instituto de Estudos da Linguagem
Made available in DSpace on 2018-08-10T17:51:33Z (GMT). No. of bitstreams: 1 Montemezzo_LucianaFerrari_D.pdf: 4166038 bytes, checksum: aaf5edb8bff2b06db7a15edbc0c713ae (MD5) Previous issue date: 2008
Resumo: Um texto traduzido é, ao mesmo tempo, processo e resultado. O processo refere-se às condições e critérios que levaram à sua efetivação, bem como à pesquisa demandada em torno do tema e da obra a ser traduzida. O resultado é a concretização deste processo, materializada e pronta para o consumo. Nossa tese buscou não só apresentar o resultado das traduções de Bodas de Sangue (1933), Yerma (1934) e A Casa de Bernarda Alba (1936), do dramaturgo espanhol Federico García Lorca (1898-1936), mas também explicitar o processo de pesquisa que, em nossa opinião, em muito pode colaborar para as futuras montagens das peças. Nossa opção se sustenta na hipótese de que o tradutor ¿ sobretudo o tradutor de teatro ¿ deve assumir sua intervenção: não desestrangeirizar completamente a obra, deixando marcas no texto que indiquem sua procedência, a fim de que o leitor-espectador perceba que está diante de um texto traduzido. Dessa maneira, nossa tradução procurou manter alguns aspectos relevantes da cultura espanhola, salientando as diferenças envolvidas no trânsito cultural entre Espanha e Brasil. A tradução promove uma crítica aprofundada do texto, já que o analisa em detalhes, e se detém em minúcias que, via de regra, passam despercebidas nas demais formas de leitura, o que nos leva a crer que nosso trabalho poderá contribuir no sentido de orientar atores, cenógrafos e diretores que se interessem pelas obras aqui traduzidas. Para dar o devido destaque à nossa concepção de tradução intervencionista, utilizamos as Notas do Tradutor (N.T.) como espaço de explicitação de critérios e opções tradutórias, bem como de diálogo com outros críticos e comentadores das obras em questão
Abstract: A translated text is, at one and the same time, a process and a result. The process concerns the conditions and criteria that led to its production and also the necessary research about the theme and the work to be translated. The result is the realization of this process, which is materialized and ready for consumption. Our doctoral work aimed not only at presenting the result of the translation of Bodas de Sangue (1933), Yerma (1934), and A Casa de Bernarda Alba (1936), by Spanish playwright Federico García Lorca (1898-1936), but also making the research process explicit as, in our opinion, this process can much contribute to future productions of these plays. Our decision is based on the hypothesis that the translator ¿ particularly the translator of drama ¿ should acknowledge his intervention; that is, he should not erase the foreignness of the work completely by leaving marks in the text that indicate its origin so that the reader-spectator can notice that he is in the presence of a translated text. Therefore, our translation tried to keep some relevant aspects of the Spanish culture, by stressing the differences inherent in the circulation of culture between Spain and Brazil. Translation allows deep criticism of the text by analyzing it fully and paying close attention to its minute details that are usually unnoticed in other types of reading; so, we believe that our work can contribute to assisting actors, stage-designers, and directors who may be interested in the works translated here. In order to properly highlight our concept of interventionist translation, we used the Notes by the Translator (N.T.) as the domain of explanation of criteria and translation choices and also of dialogue with other critics and commentators of the works in question
Doutorado
Literatura Geral e Comparada
Doutor em Teoria e História Literária
Książki na temat "The Spanish trilogy"
1949-, Thomas Charles Philip, red. The empire trilogy: Three plays of the Spanish American war of 1898 : a trilogy of plays. San Juan, Puerto Rico: Ediciones Gallo Galante, 2003.
Znajdź pełny tekst źródłaFeizer, Dzhein. The Diamond Slipper: Charm Bracelet Trilogy #1. New York: Bantam Books, 1997.
Znajdź pełny tekst źródłaAeschylus. The Oresteia trilogy. Mineola, N.Y: Dover Publications, 1996.
Znajdź pełny tekst źródłaDioso, Marconi M. A trilogy of wars: The Philippine revolutionary wars of 1896-7, the Spanish-American War in the Philippines in 1898, and the Filipino-American War, 1899-1902. Pittsburgh, PA: Dorrance Pub., 2005.
Znajdź pełny tekst źródłaTrilogia de Madrid. Barcelona: Seix Barral, 1985.
Znajdź pełny tekst źródłaFernández, José Ramón. Trilogía de la juventud. Madrid: Fundación Autor, 2001.
Znajdź pełny tekst źródłaYagüe, Javier G. (Javier García), 1961- author, Pallín Yolanda 1965 author i Doménech Fernando editor, red. Trilogía de la juventud. Madrid: Cátedra, 2019.
Znajdź pełny tekst źródłaHorst, Eberhard. Die spanische Trilogie: Isabella - Johanna - Teresa. Düsseldorf: Classen, 1989.
Znajdź pełny tekst źródłaHorst, Eberhard. Die Spanische Trilogie: Isabella-Johanna-Teresa. Dusseldorf: Claassen, 1989.
Znajdź pełny tekst źródłaTrilogía vallenata. [Bogotá?]: Ministerio de Cultura, 2002.
Znajdź pełny tekst źródłaCzęści książek na temat "The Spanish trilogy"
Marsh, Steven. "Metropolitan Masquerades: The Destabilization of Madrid in the Neville Trilogy". W Popular Spanish Film under Franco, 63–96. London: Palgrave Macmillan UK, 2006. http://dx.doi.org/10.1057/9780230511873_4.
Pełny tekst źródła"The Phantasm of Civil War in Josena Aldecoa’s Novelistic Trilogy". W Spanish Women Writers and Spain's Civil War, 161–75. Routledge, 2016. http://dx.doi.org/10.4324/9781315546667-15.
Pełny tekst źródłaRoberto, John Alexander. "Cross-Cultural Languages Behind Technology-Enhanced Language Learning". W Cross-Cultural Perspectives on Technology-Enhanced Language Learning, 16–46. IGI Global, 2018. http://dx.doi.org/10.4018/978-1-5225-5463-9.ch002.
Pełny tekst źródłaClare, Janet. "‘She’s Turned Fury’: Women Transmogrified in Revenge Plays". W Revenge and Gender in Classical, Medieval and Renaissance Literature, 220–36. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9781474414098.003.0012.
Pełny tekst źródłaTierney, Dolores. "Guillermo Del Toro’s Transnational Political Horror: Cronos (1993), El Espinazo Del Diablo (The Devil’S Backbone 2001) and El Laberinto Del Fauno (Pan’S Labyrinth 2006)". W New Transnationalisms in Contemporary Latin American Cinemas. Edinburgh University Press, 2018. http://dx.doi.org/10.3366/edinburgh/9780748645732.003.0005.
Pełny tekst źródłaDeleyto, Celestino. "Motherland: Space, Femininity, and Spanishness in Jamon jamón (Bigas Luna, I992)". W Spanish Cinema, 270–85. Oxford University PressOxford, 1999. http://dx.doi.org/10.1093/oso/9780198184157.003.0018.
Pełny tekst źródłaNanney, Lisa. "Filmic Narrative into Narrative Film". W John Dos Passos and Cinema, 159–82. Liverpool University Press, 2019. http://dx.doi.org/10.3828/liverpool/9781942954873.003.0009.
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